Feminism, culture and women's lives in Britain, c.1945-c.2015

该奖学金将对1945年以来英国女权主义（广义定义为争取男女平等的目标）与非积极分子妇女之间的关系进行主要研究。现有的女权主义研究主要集中在活动家身上。这项研究考察了女权主义如何影响活跃分子网络之外的女性。但它不仅如此，还揭示了这些女性在构建和发展女权主义中的重要性。我的工作将提供对文化和政治行动之间关系的新理解。它将强调文化部门作为挑战性别角色和建立女权主义网络的场所的重要性。这是我在对《Spare Rib》杂志和曼彻斯特文化参与的早期研究中得出的结论。从那时起，作为牛津大学人文学科女性研究中心（Women in Humanities，简称WiH）的联合主任，我领导了关于女性文化生产和政治参与的跨学科网络。这些突出了戏剧作为一个被忽视但重要的联系，涉及业余和专业作家和表演者；观众，包括电视或电影改编作品的观众；还有读者，包括学习固定课文的小学生。在此基础上，我提议的奖学金将使用剧作家兼编剧希拉德莱尼（1938-2012）的案例研究来研究她那一代的女性如何挑战活动家网络之外的社会文化规范，特别是在文化部门内。分析文化和政治变革之间的关系将发展我在现代历史上的智力研究领导地位，并加强我对跨学科辩论的贡献。我的前两本书概述了二十世纪女性的生活，在此基础上，本奖学金将以传记的视角审视引发女性公共行动的个人动机和经历。我将重点关注1935年至1950年间出生的女性，她们是先锋一代。他们是第一批将工作、家庭生活、性和情感满足结合起来的人，这显然是一个可以实现的目标。这项研究挑战了女权主义在20世纪70年代出现或被重新发现的学术假设。它对现有的女权主义研究的时间框架提出了质疑，这些框架认为女权主义是一系列的行动主义“浪潮”，每一次都是有代际差异的。我对非激进女性的关注显示了自20世纪60年代初以来重要的时间连续性，跨代关系的重要性，以及文化参与（对于实践者和旁观者）在塑造政治变革中的重要性。我的研究将通过产出进行交流，旨在促进学术和非学术用户之间的对话。其中包括一本针对学术和非学术读者的重要书籍，一场戏剧表演，一次汇集了学者、从业者和活动家的国际研讨会，以及一部与一位专业作家合作编写的广播纪实剧。与文化从业者和观众进行深入的生活史访谈将丰富和告知学术。在方法上，研究金将通过与文化和公共部门的开创性合作获得信息。其调查结果将由由专业作家、社区戏剧公司、社会住房提供者及其租户和戏剧观众共同进行的大型戏剧制作提供信息，并通过这些制作传达一些初步结果。这将产生关于文化参与对女权主义思想的创造和传播的影响的新知识。基于我在牛津大学培养跨学科辩论的现有经验，该奖学金将使我能够在学者、文化从业者和教育和文化参与率较低的群体之间建立合作伙伴关系，从而提高我的领导能力。

This Fellowship will provide a major study of the relationship between feminism (broadly defined as the aim for equality between women and men) and non-activist women in Britain since 1945. Existing studies of feminism focus on activists. This research examines how feminism affected women outside activist networks. But it goes further than this, by revealing the importance of these women in constituting and developing feminism. My work will offer a new understanding of the relationship between cultural and political action. It will highlight the importance of the cultural sector as a locus where gender roles were challenged and feminist networks established. This is a conclusion I developed in earlier research on Spare Rib magazine and on cultural participation in Manchester. Since then, as co-Director of Oxford's Women in Humanities (WiH) research centre, I have led interdisciplinary networks on women's cultural production and on their political participation. These highlight theatre as a neglected but important nexus that involves amateur and professional writers and performers; viewers, including those of productions adapted for TV or film; and readers, including schoolchildren studying set texts. Advancing on this, my proposed Fellowship will use a case study of the playwright and screenwriter Shelagh Delaney (1938-2012) to examine how women of her generation challenged socio-cultural norms outside activist networks, and specifically within the cultural sector. Analysing the relationship between cultural and political change will develop my intellectual research leadership in modern history and enhance my contribution to interdisciplinary debates.Building on my first two books, which provided an overview of women's lives across the twentieth century, this Fellowship will use a biographical lens to scrutinize the personal motivations and experiences that provoked women's public actions. I will focus on a pioneering generation of women, those born between c.1935 and 1950. They were the first for whom combining work, family life, sexual and emotional fulfillment was an apparently realizable goal. This research challenges scholarly assumptions that feminism emerged, or was rediscovered, in the 1970s. It questions the existing chronological frameworks of studies of feminism, which suggest that feminism was a series of 'waves' of activism, each of which was generationally specific. My focus on non-activist women demonstrates significant chronological continuities since the early 1960s, the importance of cross-generational relationships, and the importance of cultural participation (both for practitioners and spectators) in shaping political change.My research will be communicated through outputs devised to foster dialogue between academic and non-academic users. These include a major book aimed at academic and non-academic audiences, a theatrical performance, an international symposium bringing together scholars, practitioners and activists, and a radio docudrama written in collaboration with a professional writer. In-depth life history interviews with cultural practitioners and spectators will enrich and inform scholarship. Methodologically, the Fellowship will be informed by a groundbreaking collaboration with the cultural and public sectors. Its findings will be informed by, and some preliminary results communicated through, a major theatrical production undertaken with a professional writer, a community theatre company, a social housing provider and its tenants, and theatre audiences. This will generate new knowledge about the influence that cultural participation has on the creation and dissemination of feminist ideas. Building on my existing experience of fostering interdisciplinary debate within Oxford, this Fellowship will develop my leadership by enabling me to create collaborative partnerships between scholars, cultural practitioners and groups with low rates of educational and cultural participation.