• A Room with a View
• Laurel Brake (bio)

This paper situates A Magazine of Her Own? (1996) as one of the foundational titles in the development of media history at the turn of the twentieth century, alongside The Wellesley Index to Victorian Periodicals (1966–89). I suggest that just as Wellesley in its expanded bibliographical format fuelled an explosion of research in the field on its selection of forty-three journals, so Beetham’s discursive feminist cultural history of the woman’s magazine in its popular, family-oriented, and domestic forms treated a selection of forty-two magazines that prompted an invigorated population of the field in its wake.

From the start, on the cover, Margaret Beetham’s new book alerted would-be readers to its activist stance by invoking and interrogating in its title Virginia Woolf’s historical claim to room for women, not least in the academy and its discourse. Beetham goes on to identify her subject further, and unapologetically, as popular, middlebrow journalism. In another resonant single phrase, this time drawn from vernacular speech, the “woman’s magazine” indicates the practice of accessible writing within. If academic formats such as endnotes and an extensive bibliography accompany her narrative, notes are kept to a minimum and avoid the arcane and, along with numerous illustrations, make this material accessible and potentially attractive to a general readership. The stock woodcut from a nineteenth-century corset ad that dominates the cover signals the link of domesticity and desire with the male gaze of both its day and ours and with gender theory.

In contrast to The Wellesley Index, the final volumes of which had recently appeared, Beetham’s book largely deals with weeklies and the popular press rather than the market niche of Wellesley titles: high-culture, up-market quarterlies and monthlies that were edited, founded, and dominated by men. Beetham’s book was not only about a genre distinguished from the rest of the press by its gender, but it brought gender—and classed gender—into the equation of the nineteenth-century press as a whole, [End Page 601] inviting us to see and analyse gender in the default press, in the (masculinities of) classed newspapers and periodicals that defined the “other,” into which category the woman’s magazine fell. Beetham queers constituents of the binary, destabilising them as fractured, evolving, and always in a state of becoming. Every facet of Beetham’s work was political and constructive critique.

Another distinction of its focus from that of Wellesley’s was its decisive turn from literature or history to journalism, away from the perspective of any single academic discipline to a wider interdisciplinary view. Wellesley derived its initial impetus for attribution from the (overwhelmingly male) “great authors” orientation of history and English, but in the epigraphs of her introduction Beetham immediately signals a dramatic turn away from the individual author/critic and the narrowness of the dominant discourses. Both epigraphs are from Beetham’s and our contemporaries, not critics or contributors familiar to us, but reader-authors of the periodicals Woman and Bella, which are seldom within our professional academic gaze let alone in academic libraries. The epigraphs are signed (by Mrs. A. F. Smith and Tony Docherty), but their names reveal them to be and to represent ordinary readers. The subjects of their letters are dress patterns and recipes, respectively, unexpected topics that help establish an early point that these magazines are miscellanies characterised, like most nineteenth-century titles, by diversity of tone and “constituent parts.”¹ Titles are not raided for their literature and deemed literary on that basis or scoured for nuggets of historical veracity.

In this, Beetham’s book is indebted to Wellesley. Wellesley’s revolutionary decision to list the articles within each issue of a periodical, instead of indexing articles annually and alphabetically by subject or title, made the miscellaneous content of issues instantly comprehensible and revealed the changing mixes over time. It also fostered comprehension of the distinctive character of periodical titles at any given date. In our terms, Wellesley encouraged browsing and limited searching to attributed authors, who were indexed in the back of each volume and, finally, in a last volume that aggregated...

• 享有风景的房间
• 月桂树刹车（生物）

本文位于《她自己的杂志》上吗？（1996）是20世纪初媒体历史发展的基础性标题之一，与《维多利亚州期刊的韦尔斯利索引》（1966–89）并列。我建议，就像韦尔斯利以其扩展的书目形式推动了该领域在选择四十三种期刊方面的研究爆炸式增长一样，贝塔姆以其受欢迎的，面向家庭的和家庭的形式对待女性杂志的话语权主义的女性主义文化史也得到了处理。选出的四十二本杂志激发了这个领域的蓬勃发展。

从一开始，玛格丽特·比瑟姆（Margaret Beetham）的新书就通过呼吁和审视弗吉尼亚·伍尔夫（Virginia Woolf）对妇女的空间的历史主张（尤其是在学院及其论述中），使准读者意识到其激进主义姿态。Beetham继续毫无争议地进一步将她的主题确定为流行的中间眉新闻。这是从白话中抽出的另一个共鸣词，这是“女性杂志”，指出了其中无障碍写作的习惯。如果她的叙述伴随着学术形式，例如尾注和大量参考书目，那么注解应尽量减少，避免奥秘，并与大量插图一起使这种材料易于使用，并可能吸引普通读者。

与最近出版的《韦尔斯利指数》相反，比瑟姆的书主要涉及周刊和大众媒体，而不是韦尔斯利书名的市场利基：编辑，创立的高文化，高端季刊和月刊。 ，并由男人主导。Beetham的书不仅涉及按性别区分出版界以外的其他流派，而且将性别（以及按性别分类）带入整个19世纪新闻界的方程式中，[End Page 601]邀请我们在默认报纸上，在定义“其他”的分类报纸和期刊（的男性气质）中查看和分析性别，女性杂志属于哪一类。Beetham质疑二进制文件的组成部分，使其破裂，不断发展并始终处于变成状态，从而使它们不稳定。Beetham的作品的各个方面都是政治性和建设性的批评。

它的重点与韦尔斯利的重点的另一个区别是，它从文学或历史到新闻学的决定性转变，从任何一门学科的角度都转向了更广泛的跨学科视野。韦尔斯利（Wellesley）的最初推动力来自于历史和英语（绝大多数是男性）“杰出作家”的取向，但是在他的引言的书摘中，比瑟姆立即暗示着戏剧性地偏离了个人作家/评论家和主流话语的局限性。这两篇题词均来自Beetham和我们的同时代人，不是我们熟悉的批评家或撰稿人，而是读者-《女人》和《贝拉》期刊的作者，这在我们的专业学术视野中很少出现，更不用说在大学图书馆中了。题词签名（由AF Smith夫人和Tony Docherty签名），但它们的名字显示出它们是普通读者，并代表普通读者。他们的来信主题分别是着装图案和食谱，这是意料之外的主题，有助于建立一个早期点，即这些杂志都是杂项，就像大多数19世纪的书名一样，用语调和“组成部分”来表征。¹标题不因其文学而被搜集，因此不被视作文学，也不被视为具有历史准确性的掘金。

在这本书中，比瑟姆的书欠了韦尔斯利。韦尔斯利（Wellesley）的一项革命性决定是在期刊的每一期中列出文章，而不是每年都按主题或标题来按字母顺序对文章进行索引，从而使期刊的杂项内容立即变得可理解，并揭示了随着时间变化的混合情况。它也促进了在任何给定日期对期刊标题独特性的理解。用我们的话来说，Wellesley鼓励浏览和限制搜索归因于作者，这些作者被索引在每本书的最后，最后是在汇总的最后一本书中...