Relevant bibliographies by topics / Feminine style

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Feminine style'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Feminine style"

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Noorsanti, Parwati Hadi. "Masculinity and Femininity in Yuriko Koike's Speech Style." Register Journal 14, no. 1 (May 9, 2021): 139–56. http://dx.doi.org/10.18326/rgt.v14i1.139-156.

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This study aims at describing Yuriko Koike’s speech style in conducting verbal interaction in public in relation to her profession as a politician and the Governor of Tokyo. In relation to gender stereotypes, women have a feminine speech style while men have a masculine speech style. The activities as a woman politician and leader will indeed affect Yuriko Koike’s language use in public communication, whether she fully incorporates a feminine style or also employs a masculine style. The data of this study is Yuriko Koike’s utterances in verbal interaction taken from YouTube, comprising informal talk shows, formal talk shows, and press conferences. The data are analyzed with the theories of gender and language, as well as speech style, proposed by Holmes and Stubbe (2003) and Talbot (2003). From the data obtained, it can be deduced that Yuriko Koike’s speech style is androgynous, which combines masculine and feminine speech styles. Her speech style, therefore, does not reflect the stereotypical style of the traditional Japanese women, which is polite, soft, unassertive, and indirect. Instead, Yuriko Koike is the depiction of the deconstruction of Japanese women’s communication today, by which she shows herself as a respected leader to her political opponents. Koike generally has a communication style of a leader, that is public, report, lecturing, referentially oriented, problem-solving, dominating, and task/outcome-oriented. Specifically, her masculine speech style includes direct, competitive, independent-autonomy, and dominant, while her feminine styles were effectively oriented-sympathy, rapport, intimacy-connection, collaborative, and supportive feedback.Keywords: speech style; feminine; masculine; Yuriko Koike
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Weinberg, Frankie J., Len J. Treviño, and A. O’Shea Cleveland. "Gendered Communication and Career Outcomes: A Construct Validation and Prediction of Hierarchical Advancement and Non-Hierarchical Rewards." Communication Research 46, no. 4 (June 18, 2015): 456–502. http://dx.doi.org/10.1177/0093650215590605.

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This research introduces and tests a measure that captures gendered communication style, a multi-dimensional construct with masculine and feminine facets. In Study 1, we follow a well-regarded content adequacy procedure to develop and test items to represent each of these facets and further validate the new measurement instrument across two samples of working adults. Study 2 replicates the instrument’s factor structure and tests the relationships between perceived masculine and feminine communication styles and multiple indicators of career success. Results generally support our hypotheses that masculine communication style is related to hierarchical advancement (e.g., number of promotions, advancement to higher managerial levels), whereas feminine communication style is related to non-hierarchical rewards (e.g., higher compensation, increased span of control). Unexpectedly, feminine communication style also positively predicts two indicators of hierarchical career success. Furthermore, an interaction effect suggests that gendered communication style has more of an impact on women’s compensation than on men’s.
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Cremin, Ciara. "Feminine Praxis." Counterfutures 8 (March 18, 2020): 99. http://dx.doi.org/10.26686/cf.v8i0.6453.

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Dresses and skirts are emblematic of a feminine style and also of women’s subordination to men. But the fashion these days for what is erroneously called gender-neutral or unisex clothing is neither a sign of progress nor of victory of feminists against patriarchy. For while in protest of their physical and symbolic impositions women were abandoning feminine affect and apparel, without the political motive and under no pressure to do likewise, men enacted no equivalent abandonment of masculinity. With femininity subtracted out, the style men are habituated to wearing became gender neutral by default and nothing was or is sacrificed by men to achieve it. The process of becoming a man is an aversion therapy in anything held as feminine. This article centres on what I call a ‘feminine praxis’, a practice of thought and action with the aim of ending masculine domination. The idea, and what it entails, is unpacked through a range of theoretical sources and interventions germane to the topic, including Marxist, feminist, and queer theory.
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Quina, Kathryn, Joseph A. Wingard, and Henry G. Bates. "Language Style and Gender Stereotypes in Person Perception." Psychology of Women Quarterly 11, no. 1 (March 1987): 111–22. http://dx.doi.org/10.1111/j.1471-6402.1987.tb00778.x.

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Twelve sentence pairs representing Lakoff's “women's language” and corresponding “masculine” styles were developed in order to examine gender stereotyping as a function of linguistic pattern usage. College students (77 women and 74 men) read the sentences as transcribed from an interview with a hypothetical male, female, or sex-unknown client, and evaluated the speaker on 31 bipolar adjective scales. Ratings on the masculinity-femininity dimension confirmed Lakoff's “feminine” speech style as a gender stereotype. Factor analysis and subsequent multivariate analyses of variance on factor scores revealed that participants rated the nonfeminine linguistic style significantly higher in competence, but lower in social warmth, than the feminine style. Author gender did not contribute significantly to speaker evaluations. Implications of this importance of style over gender in person perception are discussed.
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Kodali, Sujatha. "An Insight Into Winning the Way Through Feminine Style of Leadership." Global Journal For Research Analysis 3, no. 8 (June 15, 2012): 1–2. http://dx.doi.org/10.15373/22778160/august2014/224.

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Mills, Sara. "Discourse Competence: Or How to Theorize Strong Women Speakers." Hypatia 7, no. 2 (1992): 4–17. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00882.x.

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In feminist linguistic analysis, women's speech has often been characterized as “powerless” or as “over-polite”; this paper aims to challenge this notion and to question the eliding of a feminine speech style with femaleness. In order to move beyond a position which judges speech as masculine or feminine, which are stereotypes of behavior, I propose the term “discourse competence” to describe speech where cooperative and competitive strategies are used appropriately.
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Spangenberg, Judora J., and Therése P. Lategan. "Coping, Androgyny, and Attributional Style." South African Journal of Psychology 23, no. 4 (December 1993): 195–203. http://dx.doi.org/10.1177/008124639302300406.

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To examine the impact of androgyny and attributional style on coping ability, a demographic questionnaire, the Zeitlin Coping Inventory, the Bem Sex-role Inventory and the Attributional Style Questionnaire were completed by 301 first-year students at the University of Stellenbosch. It was found that androgynous female subjects displayed significantly better coping abilities than female subjects with feminine, masculine, or undifferentiated sex-role orientations. No significant difference was found between coping abilities of androgynous and masculine male subjects, although both androgynous and masculine males showed significantly better coping abilities than males with feminine or undifferentiated sex-role orientations. Regarding a specific aspect of coping, namely flexibility of coping style, both male and female subjects with androgynous sex-role orientations displayed significantly more flexibility in their coping styles than subjects of any other sex-role type. Regarding attributional style, a significant positive correlation was found between good coping ability and an internal, stable, and global attributional style for positive events. A significant positive correlation was likewise found between good coping ability and an external, unstable, and specific attributional style for negative events. The conclusion was drawn that androgyny and an adaptive attributional style served as important coping resources.
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Vigil, Tammy R. "Feminine Views in the Feminine Style: Convention Speeches by Presidential Nominees' Spouses." Southern Communication Journal 79, no. 4 (August 18, 2014): 327–46. http://dx.doi.org/10.1080/1041794x.2014.916339.

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Bordean, Ovidiu Niculae, Dalma Szonja Rácz, Sebastian Ion Ceptureanu, Eduard Gabriel Ceptureanu, and Zenovia Cristiana Pop. "Gender Diversity and the Choice of Conflict Management Styles in Small and Medium-Sized Enterprises." Sustainability 12, no. 17 (September 1, 2020): 7136. http://dx.doi.org/10.3390/su12177136.

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The current study investigates the relation between biological sex and gender role upon the choice of conflict management styles. The Bem Sex Role Inventory (BSRI) measured the gender role and Rahim Organizational Conflict Inventory-II (ROCI-II) Form C measured the conflict handling styles. Participants were employees of small and medium-sized enterprises (SMEs). The results found that biological sex has no correlation with the choice of conflict management style. On the other hand, the findings have shown that gender role is a predictor for the choice of conflict management styles as masculine individuals were highest on the dominating conflict style, whereas feminine individuals were highest on the avoiding style.
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Varino, Sofia. "Liminal politics: Performing feminine difference with Hélène Cixous." European Journal of Women's Studies 25, no. 3 (May 3, 2018): 293–309. http://dx.doi.org/10.1177/1350506818769918.

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As one of the most influential feminist theorists in Western academic circles, Hélène Cixous is often associated with écriture feminine (feminine writing), a term she coined in 1977, and with a fluid, poetic style both in her essays and in her fiction. This article investigates how Hélène Cixous uses the concept of the ‘feminine’ in her plays as a container for heterogeneity, liminality and difference, mobilizing it to animate feminist strategies that interrupt male, white and/or hegemonic forms of subjectivity. If for Cixous the practice of feminine writing is fundamentally characterized by the desire to create a mode of expression in which (gendered, embodied, racial) difference and otherness would retain their alterity, in dramatic writing she found an especially conducive medium for the realization of that desire. This article examines Cixous’s anti-realist postdramatic works, from her first produced play Portrait of Dora (1976) to her works for Ariane Mnouchkine’s Théâtre du Soleil, in the context of a feminist aesthetics of estrangement, and considers how her plays enact feminist theory’s own movement away from the psychoanalytical discourses of the 1970s and 1980s to postcolonial and materialist critiques. The article employs a range of intersectional critical methodologies for situating Cixous’s dramatic writing within a broader feminist praxis, using the work of feminist performance scholars like Elin Diamond, Rebecca Schneider and Jill Dolan to consider the liminal Other as a precarious feminine figure that Cixous re-inscribes into discourse. Feminine writing, the progressive movement away from realism towards postdramatic theatre, and Cixous’s artistic collaboration with Mnouchkine are each considered as feminist strategies towards a rendition of the subject that can reiterate its otherness on stage. The central argument is that it is the enactment of these strategies in live performance that makes Hélène Cixous’s concept of femininity as liminal difference so relevant for feminist politics today.
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Dissertations / Theses on the topic "Feminine style"

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Meinen, Sarah. "POLITICAL FEMININE STYLE AND FIRST LADY RHETORIC: FEMINIST IMPLICATIONS OF A WHITE-GLOVE PULPIT." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1051189500.

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Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2003.
Title from first page of PDF document. Document formatted into pages; contains iv, 127 p. Includes bibliographical references (p. 107-114).
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York, Misty. "Dramatism, Feminine Style and Women's Weblogs: Women Speaking in the E-Public." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/437.

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During the 2004 election cycle, online communication technologies emerged as a legitimate influence on political participation and strategy. Weblogs (blogs) played a pivotal role in the Internet's unprecedented sway. This research combined Burke's (1969) dramatism with Campbell's (1989) feminine style to describe and critique three women's political blogs. The pentad highlighted an argument derived from each blogger's master narrative, while feminine style analysis revealed subtle differences among the women's persuasive tactics.
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Åhagen, Marcus, and Johan Nilsson. "Gendered Rhetoric in the UN General Assembly? : The Rhetorical Styles of Male and Female Representatives of Sweden and the United States." Thesis, Högskolan Väst, Avd för juridik, ekonomi, statistik och politik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-5402.

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During the last few decades the academic re-gendering has reached the field of rhetorical discourse and differences of speech and rhetoric has been determined. Another gender shift has occurred during the last few decades in the appointments of foreign policy representatives, from being one of the last patriarchal strongholds the change towards equality has been remarkably swift. However, the norms of masculinity and formality within the sphere of foreign policy are still persistent. The first aim of this thesis was to determine if the rhetorical style of men and women differed even in a context heavily laden with norms, such as the UNGA. The secondary aim is based upon the concept of masculinity and femininity in culture, to determine if the gender of culture influenced the speaker’s rhetorical style, even in the UNGA. This thesis generates its own theoretical framework from the works of rhetoric and linguistics to separate masculine and feminine rhetorical style. The method used is a qualitative textual analyze applied to transcribed speeches held by Swedish and U.S. representatives in UNGA. The analysis proved that there is a difference in rhetorical style between genders and culture, even in a context such as the UNGA, but only a small one.
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Boström, Eriksson Linda. "Gender Specific Features of Language : Their Representation in a Popular TV Show." Thesis, Mid Sweden University, Mid Sweden University, Mid Sweden University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-8557.

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The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom The New Adventures of Old Christine were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.

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Spencer, Leland G. IV. "Hagiographic Feminist Rhetoric: An Analysis of the Sermons of Bishop Marjorie Matthews." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242914318.

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Isak, Diana, and Kawsar Abdullahi Hassan. "Maskulint kontra feminint ledarskap : Beskriver manliga ledare i kvinnodominerade branscher sin ledarstil som feminin?" Thesis, Södertörns högskola, Företagsekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41157.

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This study aims to investigate whether male leaders in women-dominated industries describe their leadership as masculine or feminine in accordance with the writers own designed model “Masculine leadership versus feminine leadership”. The model is based on previous research. Furthermore if there are other explanatory models for the leaders description. This study also answers whether male leaders in women-dominated branches seem to adopt a feminine leadership or stick to the typical leadership attached to male leadership. A qualitative approach has been applied throughout the study to create an in-depth understanding of the topic with a total of six male respondents who participated in a semi-structured interview. Historically, and from the theoretical point of view, it is most common for men to exercise a leadership style of masculine leadership. This study concluded that four out of six respondents have leadership styles that are consistent with the typical leadership applied to male leaders and that two respondents describe themselves as adopting a feminine leadership style.
Syftet med denna studie är att undersöka och förklara huruvida manliga ledare i kvinnodominerade branscher beskriver sitt ledarskap som maskulint eller feminint i enlighet med författarnas sammanfattade modell “Maskulint ledarskap kontra feminint ledarskap”, baserat på tidigare forskning, eller om andra förklaringsmodeller kan beskriva detta. Vidare undersöker författarna om manliga ledare tycks anamma en kvinnlig ledarskapsstil i kvinnodominerade branscher eller om de behåller den normtypiska ledarskapsstilen för manliga ledare. Ett kvalitativt angreppssätt, tematisk analys och abduktiv metod har tillämpats genom undersökningen för att skapa en djupgående förståelse inom området med totalt sex manliga respondenter som deltagit i en semistrukturerad intervju. Historiskt sett och baserat på teoretiska ståndpunkter har det i stor utsträckning visat sig att män utövar en ledarskapsstil utav maskulina ledaregenskaper. Denna studie resultat visar att fyra av sex respondenter besitter maskulina ledarskapsstilar och att två respondenter beskriver sig som att de anammar en feminin ledarskapsstil.
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Santos, Sofia Carrelhas Canossa. "Modelo de jogo ofensivo no polo aquático feminino de elite-caracterização da organização do processo ofensivo das selecções femininas de elite, no Campeonato Europeu de Sevilha, 1997." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Ciências do Desporto e de Educação Física, 2001. http://dited.bn.pt:80/29253.

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Grignard, Éline. "La dynamique ornementale des images : enjeux critiques, formels et perceptifs de l'ornement au cinéma." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA107.

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En s’emparant de la question ornementale, le cinéma s’inscrit dans une réflexion reliant les territoires balkaniques de l’art, au-delà de l’opposition entre les beaux-arts, les arts décoratifs et le design. La pensée de l’ornement au cinéma ne relève pas de l’évidence, tant il est vrai que l’histoire de la notion est marquée par sa relégation au seuil de la création artistique. Pourtant, il semble bien que l’ornement soit présent partout où il faut combler du vide, décorer un objet, embellir le corps. À quoi tient l’attrait de l’ornement au cinéma ? Quelles sont les relations qu’entretient le cinéma avec la pensée ornementale des images ? Contre le préjugé qui frappe l’ornement d’insignifiance, il semble nécessaire d’éclairer ses implications morales, sociales et politiques. À travers un corpus circonstancié qui se déploie à l’entour du cinéma, de l’histoire de l’art et de la culture visuelle, ce travail de recherche entend cartographier les enjeux critiques, formels et perceptifs du régime visuel de l’ornement. Penser l’ornement aujourd’hui, c’est opérer un basculement dans l’ordre des valeurs dont il se fait l’héritier. Il s’agit non seulement de faire retour sur son histoire et son élaboration conceptuelle, mais également d’emmener l’ornement vers un au-delà du discours de la subsidiarité pour établir une pensée dynamique de l’ornemental au cinéma. À travers différentes propositions théoriques, se formulent autant de constellations articulant les enjeux esthétiques, historiques et politiques de l’ornement : le régime de la dépense et le corps féminin en exercice, le processus de réification de « l’ornement de la masse » dans la modernité, le discours sur la couleur ornementale et la hantise cosmétique, les formes naturelles et abstraites, le paradigme du tapis et la texture des images, les états altérés de la perception. Les questions ornementales adressées au cinéma s’intègrent dans une pensée rénovée du style – point vif de la tension qui anime l’art et la vie – en tant que procédure de qualification des formes
As it seized the ornamental issue, cinema has become part of a reflection process relating the scattered territories of arts, beyond the opposition between fine arts, decorative arts and design. Thinking the ornament in cinema is far from obvious, since this notion, throughout its evolution, has always been marginalized at the threshold of artistic creation. Yet, it does seem that the ornament is present wherever a void needs to be filled, an object to be adorned or a body to be embellished. What makes the ornament appealing in cinema? What relationships does the cinema hold with the ornamental visual thinking? To counter prejudices confining the ornament within insignificance, it appears necessary to clarify its moral, social and political implications. Through a detailed corpus spreading around cinema, history of art and visual culture, this research paper aims at mapping the critical, formal and perceptual issues of the visual regime of the ornament. Thinking the ornament today means swaying the order of the values it has inherited. It is not only about looking back on its history and its conceptual elaboration, but also about bringing the ornament beyond the subsidiary speech to establish a dynamic thinking of the ornamental in cinema. By way of different theoretical suggestions, many constellations are being elaborated. They connect the aesthetic, historical and political stakes of the ornament: the regime of consumption and the gestures of the feminine body, the process of reifying the “mass ornament” into modernity, the speech on decorative colour and the cosmetic obsessive fear, the natural and abstract forms, the carpet paradigm and the texture of images, the altered states of the perception of ornaments. The ornamental issues, which are addressed to the cinema, blend into a renovated thinking on style – central in the tension that stirs arts and life – as a process of qualifying forms
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Gamboa, Vera Caisip. "Revolution girl style now, popular music, feminism, and revolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61431.pdf.

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Estenson, Lilly. "(R)Evolution Grrrl Style Now: Disidentification and Evolution within Riot Grrrl Feminism." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/94.

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This thesis examines the evolution of feminist praxis within the riot grrrl movement, focusing on two specific riot grrrl demographics - founding riot grrrls in the early 1990s and currently active riot grrrls in southern California. This thesis argues that riot grrrl activism is still thriving but in diverse, strategically modified ways. Using José Muñoz’s concept of “disidentification,” it analyzes how contemporary riot grrrls have appropriated and adapted the original movement’s tenets to allow for greater accessibility and diversity.
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Books on the topic "Feminine style"

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Duncan, Monica. Is there a feminine style of management. Birmingham: University of Birmingham, 1992.

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Newman, D. R. Feminine leadership: the style of the future. Oxford: Oxford Brookes University, 1996.

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Kaul, Asha. The impact of feminine identity and soft influence tactics on leadership style. Ahmedabad: Indian Institute of Management, 2011.

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Nolan, Edward Peter. Cry out and write: A feminine poetics of revelation. New York: Continuum, 1994.

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1941-, Sheldon Michael, ed. Learning curves: Living your life in full and with style. New York: Crown, 2000.

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Post, Lucia Van der. Things I wish my mother had told me: A guide to living with impeccable grace and style. Philadelphia, PA: Da Capo Press, 2008.

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Vogue futures: Health, fitness, looks and style for women in their 30's, 40's,50's ... London: Condé Nast Books, 1994.

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Inc, ebrary, ed. Things I wish my mother had told me: A guide to living with impeccable grace & style. Philadelphia, PA: Da Capo Press, 2008.

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Esther, Drill, and McDonald Heather, eds. The looks book: A whole new approach to beauty, body image, and style. New York: Penguin Books, 2002.

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Hot feminist: Modern feminism with style without judgement. London: Hodder & Stroughton, 2015.

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Book chapters on the topic "Feminine style"

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Bettinger, C. O., and Lyndon Dawson. "Changing Perspectives in Advertising: The Use of "LIBERATED" Feminine Life-Style Themes." In Developments in Marketing Science: Proceedings of the Academy of Marketing Science, 111–14. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-16934-7_26.

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Zaslow, Emilie. "The Clothed Body: Girls’ Social and Emotional Experiences of Style." In Feminism, Inc., 83–104. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101531_5.

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Mathy, Jean-Philippe. "The Symptom of “American-Style Feminism”." In Beyond French Feminisms, 247–60. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-09514-5_23.

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Holli, Anne Maria, and Johanna Kantola. "State Feminism Finnish Style: Strong Policies clash with Implementation Problems." In Changing State Feminism, 82–101. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230591424_5.

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Heinämaa, Sara. "A Phenomenology of Sexual Difference: Types, Styles and Persons." In Feminist Metaphysics, 131–55. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-3783-1_9.

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Rojo, Luisa Martin, and Concepción Gómez Esteban. "The Gender of Power: The Female Style in Labour Organizations." In Feminist Critical Discourse Analysis, 61–89. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230599901_3.

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Heinämaa, Sara. "Woman — Nature, Product, Style? Rethinking the Foundations of Feminist Philosophy of Science." In Feminism, Science, and the Philosophy of Science, 289–308. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1742-2_13.

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Okhamafe, E. Imafedia. "The Ramatoulaye-Aissatou Styles in Contemporary African Feminism(s)." In Phenomenology and Aesthetics, 131–48. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2027-9_10.

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Bernardi, Floriana, and Enrica Picarelli. "Chimamanda Ngozi Adichie as fashion icon: addressing nationalism and feminism with style." In The Routledge Companion to Fashion Studies, 215–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429264405-22.

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Kennerley, David. "Dorothea Solly’s Musical World." In Sounding Feminine, 120–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0005.

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This case study explores the musical and social world of Dorothea Solly, a keen amateur musician and singer. It builds on Chapter 2 by arguing that Solly’s middle-class background, combined with a Broad Church Anglican milieu and her marriage into a Unitarian family shaped her strongly affirmative approach to female voices, in ways that contrasted sharply with the attitudes on display in conduct literature. In particular, she exhibited great admiration for, and sought to acquire herself, the advanced vocal technique of leading stars of the Italian opera, such as her singing teacher, Cecilia Davies. In her advocacy of both female professional performers and composers, and in her own style of singing, Solly and her social milieu encapsulate an important, emerging section of the British musical public that was open both to the idea of female musical creativity and professionalism, and comfortable with an empowered, confident, assertive style of envoicing femininity.
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