Part 1 Who was the new woman?: the naming of the new woman; the dominant discourse on the new woman; the reverse discourse on the new woman; feminism, revolution and evolution in The Daughters of Danaus by Mona Caird (1894). Part 2 The new woman and socialism: the class identity of the new woman; feminism and socialism at the fin de siecle; political tracts - Eleanor Marx and Edward Aveling, The Woman Question (1886), Olive Schreiner, Woman and Labour (1911); socialism, feminism and literary realism - Margaret Harkness, A City Girl (1887); the uses of Utopia - Jane Hume Clapperton, Margaret Dummore, or, A Socialist Home (1888), Isabella Ford, On the Threshold (1895), Gertrude Dix, The Image Breakers (1900). Part 3 Unlikely bedfellows? feminism and imperalism at the fin de siecle: white women and imperalism; the case of Olive Schreiner; The Woman Question (1899); The Story of an African Farm (1883) and The Child's Day (1887); Trooper Peter Halket of Mashonaland (1897). Part 4 The daughters of decadence?: the new woman, the decadent and the dandy; the new woman as sexual decadent - Dracula by Bram Stoker (1897); Oscar Wilde and the new woman; feminism, social purity and The Heavenly Twins (1893). Part 5 The new woman and emergent lesbian identity: feminism and same-sex love; from romantic friendship to lesbian pathology; George Meredith's Diana of the Crossways (1885) - the limits of romantic friendship; lesbian pathology in A Drama in Muslin by George Moore (1886); the 20th century inheritance - lesbian sexuality in The Well of Loneliness (1928) by Radclyffe Hall. Part 6 The new woman in the modern city: women, the flaneuse and public space; the modern woman in the city - Ella Hepworth Dixon, The Story of a Modern Woman (1894); shopgirls and new woman in the city - George Gissing, The Odd Woman (1893); women in public - Henry James, The Bostonians (1886). Part 7 The new woman, modernism and mass culture: the feminization of culture at the fin de siecle; the new woman, modernism and feminine writing; finding an aesthetic for the new woman - Sue Bridehead and Jude the Obscure; George Egerton, modernism and feminist aesthetics.