Women’s Worlds

Ballaster, Ros; Beetham, Margaret; Frazer, Elizabeth; Hebron, Sandra

doi:10.1007/978-1-349-21391-7

Cited by 165 publications

(25 citation statements)

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“…A set of images and representations constructs an ideal reader suggesting no differences within this firmly established uniformity. The uniformity of participants provide a discourse in which a sense of community and shared interest is established through a variety of tools, ranging from genre forms adopted by magazines to their intimate and friendly language style (Ballaster et al 1991, Hermes 1995 or the use of specific vocabulary (TesoCraviotto 2006). The imitation of solidarity and friendship makes readers feel comfortable and constructs a friendly agreement regarding basic presuppositions of what it means to be a woman.…”

Section: The Media Genre Of the Personal Account: Discourse Communitymentioning

confidence: 99%

The media genre of the personal account: rhetorical and linguistic construction of the socio-cultural setting

Kryzhanivska¹

2017

Brno Studies in English

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Genre studies are of high relevance to media discourse in general and women's magazines discourse in particular if one considers their pervasiveness in our lives. This study presents a genre analysis of the personal account, endemic in women's magazines. The paper identifies the generic structure of the personal account and the rhetorical strategies of its textual implementation. More specifically, it focuses on the rhetorical strategies of the first element of the generic structure, the Summary and Orientation move, and on its most conspicuous linguistic features. The paper examines how the conventions of the move participate in the construction of the socio-cultural setting of the personal account. The study utilizes personal accounts from The Cosmopolitan, which was chosen due to its global international status and general thematic orientation.

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Section: The Media Genre Of the Personal Account: Discourse Communitymentioning

confidence: 99%

The media genre of the personal account: rhetorical and linguistic construction of the socio-cultural setting

Kryzhanivska¹

2017

Brno Studies in English

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“…According to Ballaster et al: "In the 1920s and "30s, women"s magazines continued to develop the use of advertising, but they were still regarded by advertisers as insignificant by contrast with newspapers and general interest magazines, and could not command the same volume of advertising and revenue as other periodical literature." 65 Although the traditional description of the inter-war years as the halcyon era of editorial freedom for British women"s magazines from the influence of advertising has been questioned, it is clear that American magazines such as Hearst"s Good Housekeeping gave much greater attention to the advertising material carried within its pages than their British rivals. 66 Due to Vogue's initial difficulty in establishing a suitable editorial direction, in the UK it had been Hearst"s National Magazine Co. which initially most successfully utilised advertising as a central element in its strategy by launching the British version of its Good Housekeeping monthly magazine in March 1922.…”

Section: Developing Relationships With Advertisers and Readersmentioning

confidence: 99%

Voguein Britain: Authenticity and the creation of competitive advantage in the UK magazine industry

Cox

Mowatt

2012

Business History

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Vogue in Britain: Authenticity and the Creation of Competitive Advantage in the UK Magazine Industry Introduction Wherever people live graciouslywherever fashion is in force, there you will find Vogue. The reason for Vogue's international (even worldwide) leadership in its field is because it deals with the interests of smart and cultivated women in an authoritative, timely and beautiful manner. Advertisers in Vogue reach an incomparably rich market with the maximum degree of effectiveness. 1 During the Second World War the increased participation of women in factory production led to a sharp rise in workplace accidents. According to the Chief Inspector of Factories the accident rate in factory work for adult females rose ninety percent from 1938 to 1941, despite the view that women in general were in less dangerous jobs than men and were usually more careful workers. 2 The fundamental reason for this rise in the number of accidents involving women was the greater employment of female factory labour, but one preventable element of the problem was due to the fact that women"s hair, worn long in the current fashion, was prone to being caught up in the machinery, and firsthand accounts of women being scalped were not uncommon. 3 Harry Yoxall, the Managing Director of Condé Nast Publications in the UK, related one unorthodox approach taken to improving this situation by Ernest Bevin, the Minister of Labour and National Service. Bevin wanted the editor of Vogue "to make long hair unfashionable." The prevailing view of the London editorial office was that the magazine reported on, rather than made, fashion, but in the national interest it was agreed that the magazine would emphasise the trend towards shorter hair observable in France and the Vogue in Britain 2 United States. According to Yoxall, "within a few months Absalom-type accidents had disappeared from our workshops." 4 It would appear that the opinion of Vogue fed through to the workplace. In the inter-war period the British edition of Vogue magazine had come from being a low-circulation loss-making American publication to one which was not only highly profitable, but was able to authentically influence British women"s fashion decisions. The reason for this success was primarily based on the development of a business strategy that sought not only to understand and target a select readership, but also to provide an authentic link to the world of fashion on behalf of their advertising clients. In the execution of this strategy, the management of Condé Nast and their editorial departments went from being passive commentators to active participants in the fashion and apparel industries, creating competencies that competitor firms in the long-established British women"s magazine industry found impossible to replicate. This paper begins by outlining the role played by fashion in the development of woman"s magazines in the UK prior to the arrival of Vogue, and demonstrates that the reconfiguration of the fashion magazine market by US-based publishers such as Condé Nas...

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“…This emphasis on outward appearance could easily have undermined the magazine's initial moral and domestic projects, had it not been for the Beetons' excellent marketing strategies. While, at the same time, he 'dispensed with the other characteristic features of the "society" magazine, including articles on politics and science', 46 a second practice, the combination of fashion plates with descriptions to recreate the garments, also helped to reconcile any possible contradictions. 'Alongside the fashion-plates Isabella provided detailed description of the modes not only in terms of their visual effect but so that the reader understood how to recreate them for herself.'…”

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confidence: 98%

“…Careful analysis of the structural and thematic relationships between the Ladies' Treasury and the Treasury of Literature not only illustrates that notions of gender difference and models of femininity in women's magazines are often fragmentary and multiple, but also helps us to understand more generally how constructions of femininity are defined, contested and transformed in the nineteenth century. 4 Edited by a certain Mrs Warren, 5 the Ladies' Treasury primarily addressed an audience of lower-middle-class women of different age groups. 6 It customarily harboured a 'Young Author's Page' , a lengthy feature on such basic domestic concerns as 'Breakfast and its Accompaniments' and 'The Dinner Table', recipes instructing readers how to make 'pudding à la Reine', 'Normandy pippins' or 'Horseradish sauce', 7 articles on needlework and the fashions, gardening columns, amusement, notices to correspondents, exchange columns and the 'On-Dits and Facts of the Month', as well as general articles and fiction.…”

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confidence: 99%

From Fashion Colours to Spectrum Analysis: negotiating femininities in mid-Victorian women's magazines

Ridder¹,

Remoortel²

2012

Women's History Review

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Women’s Worlds

Cited by 165 publications

References 0 publications

The media genre of the personal account: rhetorical and linguistic construction of the socio-cultural setting

The media genre of the personal account: rhetorical and linguistic construction of the socio-cultural setting

Voguein Britain: Authenticity and the creation of competitive advantage in the UK magazine industry

From Fashion Colours to Spectrum Analysis: negotiating femininities in mid-Victorian women's magazines

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