abstract: Virtue was a concept of paramount importance in the American founders' republican thought. Without virtue, there could be no liberty, no order, no devotion to the common good, and no republican government. This dissertation examines the concept of virtue at the American founding, particularly virtue in the political thought of Mercy Otis Warren (1728-1814). The most important female intellectual of the Revolutionary generation, Warren wrote passionately about liberty and the beauty of republican ideals. Most important to this study, she consistently advocated the central place of virtue in a free and well-ordered republic. I argue that Warren incorporates three distinct philosophical threads - classical, bourgeois-marketplace, and Christian ideals - in her conception of virtue. I first analyze how Warren uses each of these three threads of virtue throughout her writings. I then examine how she synthesizes these individual threads into a single, cohesive conception of virtue. I argue that Warren consistently merges these ideals into a conception of virtue that she employs to address three pressing political problems of her day: How to motivate reluctant colonists to seek independence; how to check various forms of corruption spreading among the people; and how to counter corruption arising from commercial growth in the new nation. Modern political theorists often argue that these three threads, especially the classical republican and Christian ideals of virtue, are irreconcilable. My analysis shows that to divorce virtue from Christianity in Warren's conception is to rob it of its corrective vigor within republican government. I argue that what Machiavelli and Rousseau wrote out of republican virtue Warren writes back in. In Warren's political thought, virtue serves as the foundation for a stable enduring political system, provides the necessary informal ordering principle for the emerging republic, and offers the means by which the new nation could achieve its millennial destiny. / Dissertation/Thesis / Ph.D. Political Science 2011

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This dissertation constructs a cultural history of women's performances in Boston from 1762-1823, using materialist feminism and ethnohistory. I look at how "woman" was historically understood at that time, and how women used those discourses to their advantage when constructing performances that allowed them to intervene in political culture. I examine a broad range of performance activities from white, black, and Native American women of all classes. Chapter two discusses three of Boston's elite female intellectuals: Mercy Otis Warren, Judith Sargent Murray, and Sarah Wentworth Apthorp Morton. Though each woman's writings have been examined individually, I examine them as a community. With the connections and public recognition they built, they helped found the Federal Street Theatre where they could have a ventrioloquized embodied performance for their ideas on women's rights, abolition, and political parties. Chapter three looks at the construction of three solo performances: Phillis Wheatley performing her poetry in 1772; the 1802 theatre tour of Deborah Sampson Gannett, who fought as a man in the revolution; and the monologues and wax effigy creations of Patience Lovell Wright circa 1772. These women depended on their performances for sustenance, and in Wheatley's case, to secure her freedom from bondage. I look at the way these women created a mythology about themselves and crafted a marketable image, both on and off the stage. In particular, I examine the ways each grappled with a charged discourse surrounding their bodies. In chapter four I look at fashion as performance. I explore homespun dresses as political propaganda, Native American and black women's use of clothing to express cultural pride that white Anglo society had attempted to erase, and the way that women used mourning costumes to perform and create nationalism at the mock funerals held for Washington after he died in 1799. In my conclusion I contrast the 2008 miniseries John Adams with a solo performance of Phillis Wheatley. I briefly trace the trajectory of the history of women during this time. I argue that focusing on performance identifies and legitimizes other sources of evidence and locates examples of women's agency in shaping popular culture. / text