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This article explores the revival and representation of Edith Garrud, the art of suffrajitsu and the jujitsuffragettes in Lissa Evans’s novel Old Baggage (2018) and Harry Bradbeer’s Enola Holmes films (2020, 2022). These works revisit the figure of this jujitsu instructor and her fellow suffragette trainees to respond to certain misrepresentations of these women in both historical and contemporary narratives and depictions of the suffragette movement. By resorting to the figure of Garrud and her self-defence lessons for suffragettes, the novel and films vindicate the contributions of these women to feminism. The works not only shed light on jujitsu’s usefulness and relevance for women’s own protection, but also on the potential of this martial art to empower women and subvert gender stereotypes. Old Baggage and Enola Holmes offer more accurate and faithful versions of the jujitsuffragettes and their trainer than those offered by detractors of women’s suffrage during the period, thus restoring and commemorating the contribution of these women to first-wave feminism. Este artículo explora el resurgimiento y la representación de Edith Garrud, el arte del suffrajitsu y las jujitsuffragettes en la novela Old baggage (2018), de Lissa Evans y las películas de Enola Holmes, de Harry Bradbeer (2020, 2022). Estos productos rescatan la figura de esta instructora de jiu-jitsu y sus compañeras y aprendices suffragettes para responder a ciertas tergiversaciones sobre estas mujeres presentes en narrativas y representaciones del movimiento sufragista tanto históricas como contemporáneas. Al recurrir a la figura de Garrud y sus lecciones de autodefensa a las suffragettes, la novela y las películas reivindican las contribuciones de estas mujeres al feminismo. Estas obras no sólo iluminan la utilidad y relevancia del jiu-jitsu para la propia protección de las mujeres, sino también el potencial de este arte marcial para empoderar a las mujeres y subvertir los estereotipos de género. Old Baggage y Enola Holmes ofrecen versiones más precisas y fieles de las jujitsuffragettes y su entrenadora que las ofrecidas por los detractores del sufragio femenino durante ese período restaurando y conmemorando así la contribución de estas mujeres a la primera ola del feminismo.  

This article explores the importance of the written word of the Holloway Jingles in the fight for female suffrage through the analysis of the Foreword, “There’s a Strange Sort of College” and “L’Envoi.” Firstly, it will focus on the importance of writing as a venting tool for the suffragettes and it will demonstrate the idealization of imprisonment in the collection by comparing it to realistic and autobiographical accounts of life in Holloway Gaol, as well as the relevance of such an idealization in order to strengthen the bonds between the suffragettes both inside and outside of prison. Secondly, it will explore the impact of the collection within the feminist movement relating it to Virginia Woolf’s and Mary Wollstonecraft’s ideas, thus focusing on a wider notion of justice and freedom that was essential for their emancipatory fight.

Collective action and oppositional political activism are firmly established features of any society and pose a challenge to inequality, exclusion and injustice rooted in the oppression of people. Oppressive practices and exclusionary policies are often the catalyst for participation in collective action to generate a conscious move towards social, cultural and political change. Over 100 years ago the suffragette movement in the UK and the nationalist movement in India employed peaceful tactics (Viewed as law breaking) with spectacular outcomes and impact which could not have been foreseen. To acknowledge the history of movements globally is crucial in the understanding of new social movements which is the focus of this special issue.

This article explores the revival and representation of Edith Garrud, the art of suffrajitsu and the jujitsuffragettes in Lissa Evans's novel Old Baggage (2018) and Harry Bradbeer's Enola Holmes films (2020, 2022). These works revisit the figure of this jujitsu instructor and her fellow suffragette trainees to respond to certain misrepresentations of these women in both historical and contemporary narratives and depictions of the suffragette movement. By resorting to the figure of Garrud and her self-defence lessons for suffragettes, the novel and films vindicate the contributions of these women to feminism. The works not only shed light on jujitsu's usefulness and relevance for women's own protection, but also on the potential of this martial art to empower women and subvert gender stereotypes. Old Baggage and Enola Holmes offer more accurate and faithful versions of the jujitsuffragettes and their trainer than those offered by detractors of women's suffrage during the period, thus restoring and commemorating the contribution of these women to first-wave feminism.

This book departs from familiar accounts of high-profile woman suffrage activists whose main concern was a federal constitutional amendment. It tells the story of woman suffrage as one involving the diverse politics of women across the country as well as the incentives of the men with the primary political authority to grant new voting rights - those in state legislatures. Through a mix of qualitative and quantitative evidence, the book explains the success and failures of efforts for woman suffrage provisions in five states and in the US Congress as the result of successful and failed coalitional politics between the suffrage movement and important constituencies of existing male voters, including farmers' organizations, labor unions, and the Populist and Progressive parties.

This essay aims to demonstrate the interdependent relationship between self-representation and collective identity in the militant suffrage campaign by focusing on two early suffragette autobiographies, Emmeline Pankhurst’s My Own Story and Constance Lytton’s Prisons and Prisoners. Both published in 1914, these autobiographies establish a common militant experience in the suffrage campaign of the Women’s Social and Political Union (WSPU) through the personal accounts and testimonies of their authors. Transformed into political tools, these autobiographies blur the limits between private experience and public sharing. Constance Lytton and Emmeline Pankhurst indeed share how personal narratives fit with political objectives and manifest a collective purpose: that of promoting and legitimizing the militant suffrage campaign. Studying Lytton’s and Pankhurst’s militant experiences portrayed in their autobiographies, observing the reception of these personal writings, or identifying the way the militant spirit is built through reproductions of personal experiences will therefore demonstrate how self-representation shaped and supported the WSPU’s collective identity. The reproduction of imprisonments, hunger strikes or other militant actions assert defining characteristics of militant experience and contribute to emphasise a collective identity built upon self-sacrifice, devotion, and martyrdom. While these autobiographies demonstrate how the self-representation of individual experiences had a collective purpose and influence over a community, they also describe how notions of self-representation and collective identity are reciprocal. Lytton’s autobiography, for instance, represents her journey as a suffragette who sought to fit in by adapting her militancy to the movement’s collective identity. Therefore, My Own Story and Prisons and Prisoners not only act as platforms to share one’s story of the suffrage movement but also demonstrate the political power of personal experiences in creating a spirituality that included personal militant experiences into a greater collective environment. These early suffrage autobiographies thus become essential tools in questioning and understanding the relationship between personal and collective, private and public. L’objectif de cet article est de démontrer la relation entre la représentation de soi et l’identité collective dans la campagne pour le droit de vote des femmes à travers deux autobiographies de suffragettes rédigées avant l’obtention du vote. My Own Story d’Emmeline Pankhurst et Prisons and Prisoners de Constance Lytton publiés en 1914 présentent une expérience militante commune en partageant le parcours de leurs autrices au sein de la Women’s Social and Political Union (WSPU). Une fois transformées en outils politiques, ces autobiographies floutent les limites entre expériences privées et diffusion publique car leurs récits personnels sont utilisés à des fins politiques. Les expériences militantes décrites par Emmeline Pankhurst et Constance Lytton présentent l’objectif commun de promouvoir et légitimer la campagne militante pour le droit de vote des femmes. En étudiant leurs expériences militantes, leur participation dans la WSPU, la réception de leurs autobiographies ou encore la manière dont l’esprit militant est construit par la reproduction d’expériences personnelles, il conviendra donc de démontrer comment la représentation de soi de ces suffragettes a pu former et renforcer l’identité collective de la WSPU. Ces autobiographies reproduisent en effet les récits d’emprisonnements, de grèves de la faim et autres actions militantes et mettent en avant des caractéristiques clés des expériences militantes et d’une identité collective construite autour du sacrifice de soi, du dévouement à une cause, ou encore de la figure du martyr. De plus, alors que ces autobiographies démontrent comment la représentation de soi à travers des expériences individuelles peut avoir un but collectif et influencer une communauté en modelant un esprit militant, elles dévoilent également la réciprocité de ces deux notions : représentation de soi et identité collective. L’autobiographie de Lytton retrace son parcours de suffragette adaptant son militantisme à l’identité collective du mouvement. Ainsi, My Own Story et Prisons and Prisoners agissent non seulement comme un moyen pour partager une histoire personnelle du mouvement pour le droit de vote des femmes, mais démontrent également tout le pouvoir politique des expériences personnelles. En ancrant ces expériences militantes individuelles dans le contexte collectif de l’organisation et du mouvement, ces autobiographies deviennent des outils incontournables pour questionner et comprendre l’articulation entre le personnel et le collectif, entre le privé et le public.

A pioneering suffragette and free thinker, Ernestine Rose was way ahead of her time. Described as the “first Jewish feminist”, she used her voice to campaign for women’s rights and improve the lives of millions.

For centuries, women have used activism in the United States to voice their concerns about society and secure their rights as citizens. Activism is an important part of any democracy, as it’s the way ordinary people shape nations.

When the Declaration of Independence was signed by a group of wealthy white men in 1776, poor white men, African Americans, and women quickly discovered that the unalienable rights it promised were not truly for all. The Nineteenth Amendment eventually gave women the right to vote in 1920, but the change was not welcomed by people of all genders in politically and religiously conservative Kentucky. As a result, the suffrage movement in the Commonwealth involved a tangled web of stakeholders, entrenched interest groups, unyielding constitutional barriers, and activists with competing strategies. In A Simple Justice , Melanie Beals Goan offers a new and deeper understanding of the women's suffrage movement in Kentucky by following the people who labored long and hard to see the battle won. Women's suffrage was not simply a question of whether women could and should vote; it carried more serious implications for white supremacy and for the balance of federal and state powers -- especially in a border state. Shocking racial hostility surfaced even as activists attempted to make America more equitable. Goan looks beyond iconic women such as Susan B. Anthony and Elizabeth Cady Stanton to reveal figures whose names have been lost to history. Laura Clay and Madeline McDowell Breckinridge led the Kentucky movement, but they did not do it alone. This timely study introduces readers to individuals across the Bluegrass State who did their part to move the nation closer to achieving its founding ideals.