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Despite the recent scholarship that has been performed on Margaret Fuller, very little has focused on the varied body of poetry she composed during her brief life. By dividing her poetic works into three categories – those written to an early “lover,” those focusing on the theme of androgyny, and those written during her “mature period” of 1844 – one is better able to follow Fuller on the emotional and intellectual journey that served as the foundation for all of her writings. In addition, the study of Fuller’s poetry provides a clearer understanding of how this erudite woman transcended gender boundaries in her writings, as well as in the choices she made in her daily life, further emphasizing her reputation as a revolutionary woman of nineteenth century.

El propósito de esta investigación será el análisis de la imagen que tanto Margaret Thatcher, así como su pensamiento, el thatcherismo, reflejó en el Perú de la década de 1980. La Dama de Hierro, adalid de la Revolución Conservadora, es un personaje que encarnó las dimensiones tanto política como de género, así como también rompió esquemas en la política mundial al resaltar sus cualidades en ambos campos. Si bien es un personaje ajeno a nuestra realidad nacional, no se puede negar su gravitación en el escenario internacional: un referente obligatorio del liberalismo durante el contexto de la Revolución Conservadora y más allá, Thatcher despertó admiración así como críticas en latitudes tan alejadas como puede serlo el Perú del Reino Unido. Prueba de ello son las constantes menciones durante la Guerra de las Malvinas, así como también sus reuniones con políticos de nuestro país tales como Manuel Ulloa y Alberto Fujimori, y su inspiración para la plataforma política de Mario Vargas Llosa en las elecciones de 1990. Para esta investigación, fueron de consulta fundamental fuentes como los diarios El Comercio y La República, así como también revistas tales cual Quehacer, Monos y Monadas, y Caretas.

Margaret Bayard Harrison Smith was a prominent member of early Washington City society from the time she and her husband, Samuel Harrison Smith, moved to the blossoming capital in 1800 until her death in 1844. As a longtime resident of Washington, Margaret spent most of her adult life navigating the unique socio-political waters of the capital and developing friendships with many of the most prominent politicians of her time. Mrs. Smith's writings provide firsthand accounts of several important political events including Congress' role in the election of 1800, Jefferson's first inauguration, Madison's first inauguration, and the destruction left by the British after the siege of Washington. Her writings also provide a picture of early undeveloped Washington City, where grand public buildings were largely surrounded by wilderness and connected by muddy roads. While this work looks at the social and political environment that Margaret Smith experienced, it also examines many of the personal concerns that frequented Mrs. Smith's writings. Margaret's views on educating her children, interacting with servants, interacting with the enslaved population of Washington, and dealing with feelings of isolation, due to the distance from her family, are frequently addressed in her letters. Focusing on these aspects of Mrs. Smith's writings allows for a greater examination of the societal norms of her day about gender, class, and race. While Margaret's letters and commonplace books have often been used to examine Washington society and the lives of her prominent friends, there is no biography of Mrs. Smith herself. This dissertation provides the first biography of Margaret Bayard Harrison Smith from her birth until the end of the War of 1812.

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<p>Drawing on Katherine Eggert’s discussion of Joan la Pucelle’s dramatic skills, this thesis argues that, through effective performances on the characters around them, the women of Shakespeare’s first tetralogy achieve and exercise extensive political power and that the male project of silencing these women through vilification and condemnation is an attempt to diminish that political power. The women in these plays are not born to the power they achieve, and it is not bestowed upon them by others. The female characters of the first tetralogy use theatrical power to enter and, in some cases, dominate the masculine world of political authority through their theatrical skill. They persuade, seduce, manipulate, and argue their ways through the highest circles of political authority and, transgressing patriarchal notions of political authority, they wield decidedly unfeminine power.</p> <p>These plays demonstrate the potential public impact and rebellious or resistant power of the female voice. In the first chapter of this thesis, I argue that these characters, through dramatically effective speech, exert significant female political agency. In the second chapter, I further contend that the male project of silencing these women's voices, expressed through gendered slurs and accusations of sexual misconduct, is a method of subduing the women’s political power. By examining the subversive women of Shakespeare's first tetralogy, this thesis explores the ways in which these characters use voice to enter and, in some cases, dominate the masculine world of political authority.</p> / Master of Arts (MA)

This study considers how and why the established histories of criticism fail to recognize the Victorian woman critic. Although many women wrote critical essays for Victorian periodicals, the practice of anonymous publication and the gendered coding of certain genres ensured that the image of the critic was masculine for Victorian readers. And despite the ongoing work of The Wellesley Index to Victorian Periodicals, the growing field of periodicals research, and forty years of feminist scholarship, the Victorian critic remains, by and large, a male figure for us as well. In order to understand how women critics justified their authority and negotiated the gendered assumptions of critical discourse over the second half of the nineteenth century, this project explores the rhetorical strategies used by four prolific women journalists: Margaret Oliphant, Anne Mozley, Julia Wedgwood, and Anne Thackeray Ritchie. These case studies demonstrate how women critics defined their role in response to an expanding reading public, conservative gender ideology, the professionalization of criticism, changing aesthetics, and the establishment of English as a university discipline. They also reveal that both anonymous and signed women critics addressed these contentious issues to subtly undermine prejudices about gender and genre. In addition to demonstrating the feminist agenda of these (sometimes conservative) critics, this study also seeks to complicate the image of the moralizing woman critic symbolized by Mrs. Grundy. Moral rhetoric was common among both male and female critics in the nineteenth century, and this project argues that moral considerations are not necessarily antithetical to artistic ones in nineteenth-century discourse. We must begin to view women's critical arguments in their full context of political, aesthetic, and professional concerns if we truly wish to understand what was at stake for Victorian critics and readers. Thus, by presenting a fuller portrait of these individual women authors, this study not only critiques the gendered definitions of genre that continue to shape literary history, but also revises our understanding of Victorian critical theories. / English