In Aldous Huxley’s Brave New World, humans are conditioned to seek out human companionship and to despise being by themselves. Helmholtz Watson, a lecturer of Emotional Engineering, relates a story to Bernard Marx about being disciplined for sharing some of his poems with the students he was paid to indoctrinate. When asked what the poems had been about, Helmholtz tells a surprised Bernard, “They were about being alone.”

The guiding thread of this panel develops around a curious remark by Jacques Rancière that would seem to amend a classically Aristotelian thesis: “man is a political animal because he is a literary animal,” the fundamental condition of which is the “excess of words” constitutive of the human animal’s politicalness. Literature (or poetry) has long been placed in close proximity to politics, as we find in Plato’s Republic, where philosophy and literature—and, more generally, philosophy and politics—turn out to be perennial adversaries.

How do female characters employ their bodies to navigate, process, and challenge the cultural and socioeconomic structures of their times? Under the antagonistic system where the pursuit of “good life” is no longer plausible, how do women across different cultures, historical periods, and geopolitical contexts respond by utilizing their bodily autonomy and agency? This panel invites papers that critically investigate female bodily representation in the context of empowerment and change. In particular, this panel is interested in literary analyses that focus on the subtle yet tangible (dis)orientation of female bodies in and out of public spaces.

With the arrival of the New Woman at the end of the nineteenth century also came the modernist novel. The beginning of the twentieth century constitutes a period when women struggled with social expectations but decided to leave their own drawing rooms and discover the world; to be power brokers, instead of passive observers; and to gradually move from their interiority to making history. By comparing novels of women writers, both in the US and abroad, this panel attempts to find, in their similarities and differences, the real issues that women faced at the turn of the century, in novels that transitioned from realism and naturalism to modernism.