The purpose of is dissertation is to bring together theories of gender, religion and the mass media in an analysis of the representation of American Catholic women religious in popular culture from 1950 till 1971. In so doing, I argue for the development of research frameworks in feminist cultural studies which acknowledge those women who sought alternatives to dominant positions of marriage and motherhood, but who did not reject outright traditional notions of femininity. Furthermore, I suggest that claims to religious virtuosity have been a source of moral and political authority for women in the past. Through such claims, women have gained greater access to educational and professional opportunities during eras of incipient feminism. I link the reform efforts of sisters in the fifties and sixties to two concurrent movements: the rise of the second wave of feminism, and the modernization of the American Catholic church according to the initiatives set forth by the Second Vatican Council (1962--1965). Together, these three areas provide a context for the analysis of the meanings and values mediated by the representation of nuns in films, television, popular literature and music. The wide-spread interest in the religious life for women by all areas of the mass media occurred at a time when American society was undergoing massive shifts not only in gender relations but also in terms of how religion was valorized. Images of nuns seemed to help audiences negotiate the changes in the discourses surrounding gender, religious and national identity. At the same time, American sisters were struggling with their own sense of identity as women and as members of the Catholic church. This conflict between images and identity for women religious highlights a number of issues within feminist cultural studies. Not the least of which is articulating the relationship between history, agency and ideology in theories of women's cultural representation in ways which can take into ac

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This thesis aims to establish Jessica Powers (1905 – 1988) as a metaphysical poet, to augment the composite definition of metaphysical poetry, and to add two emphases to Christian literary theory. A comprehensive library search on Powers reveals that no scholarly work has been written on her poetry since 2005. A meta-analysis of existing work on Powers demonstrates that the metaphysical aspect of her poetry has not yet been comprehensively examined. Though Powers wrote in a time commonly called ‘post-modern’, my contention is that it would be more accurate to describe her as a metaphysical poet in the traditional sense of that term, as used, for example, of George Herbert (1593 – 1633). I endorse the view that the central theme of all metaphysical poetry is the relation between body and soul (Tanenbaum 2002: 211). It will be seen that this relation is the central concern of Powers’ metaphysical poetry. My close reading of Powers’ work as metaphysical is according to a Christian literary theory which agrees with Hass ‘that the study of the text and textual hermeneutics in the twenty-first century will continue because of a particular resurgence of religion’ (2007: 856). It is augmented by two emphases, a scientific (based on Gallagher’s 2009 study of the neurophysiology of attention), and a philosophical (based on Fromm’s 1976 analysis of the ‘being mode’, and on Buber’s 1947 analysis of attentiveness to the present moment). My study thereby contributes to Christian literary theory. There are one hundred and eighty two poems in The Selected Poetry of Jessica Powers. This thesis refers, to greater or lesser extents, to one hundred and seventy six of the poems, and comprehensive examination of their metaphysical aspect is the primary focus of the thesis. My examination of the poems demonstrates that Powers’ poetry can justly be described as metaphysical, which definition of her work serves to highlight an important and hitherto neglected aspect of her work, that she is a metaphysical poet of the finest calibre, and that renewed attention to her work is timely. / English Studies / D. Litt. et Phil. (English studies)

This thesis aims to establish Jessica Powers (1905 – 1988) as a metaphysical poet, to augment the composite definition of metaphysical poetry, and to add two emphases to Christian literary theory. A comprehensive library search on Powers reveals that no scholarly work has been written on her poetry since 2005. A meta-analysis of existing work on Powers demonstrates that the metaphysical aspect of her poetry has not yet been comprehensively examined. Though Powers wrote in a time commonly called ‘post-modern’, my contention is that it would be more accurate to describe her as a metaphysical poet in the traditional sense of that term, as used, for example, of George Herbert (1593 – 1633). I endorse the view that the central theme of all metaphysical poetry is the relation between body and soul (Tanenbaum 2002: 211). It will be seen that this relation is the central concern of Powers’ metaphysical poetry. My close reading of Powers’ work as metaphysical is according to a Christian literary theory which agrees with Hass ‘that the study of the text and textual hermeneutics in the twenty-first century will continue because of a particular resurgence of religion’ (2007: 856). It is augmented by two emphases, a scientific (based on Gallagher’s 2009 study of the neurophysiology of attention), and a philosophical (based on Fromm’s 1976 analysis of the ‘being mode’, and on Buber’s 1947 analysis of attentiveness to the present moment). My study thereby contributes to Christian literary theory. There are one hundred and eighty two poems in The Selected Poetry of Jessica Powers. This thesis refers, to greater or lesser extents, to one hundred and seventy six of the poems, and comprehensive examination of their metaphysical aspect is the primary focus of the thesis. My examination of the poems demonstrates that Powers’ poetry can justly be described as metaphysical, which definition of her work serves to highlight an important and hitherto neglected aspect of her work, that she is a metaphysical poet of the finest calibre, and that renewed attention to her work is timely. / English Studies / D. Litt. et Phil. (English studies)

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis seeks to answer the following question: What was the legacy of the Sisters of Charity in the history of philanthropy, women’s history, medicine and nursing? The Sisters of Charity was a Catholic religious order that provided volunteer nurses, and became highly visible, during the American Civil War. Several hundred Catholic sister nurses served; they supported both the Union and Confederacy by caring for soldiers from both armies. The sisters’ story is important because of the religious and gender biases they overcame. As nurses, the Sisters of Charity interacted with different people: they cared for soldiers, worked at the direction of surgeons and alongside lay relief workers. The war propelled them into public view, and the sisters acted as agents of change. Their philanthropy eroded some of the antebellum cultural proscriptions that previously confined Catholics, women and nurses. This thesis argues the Sisters of Charity created and implemented an antebellum philanthropic model, key aspects of which the majority, non-Catholic culture emulated after the war. The Sisters of Charity were agents of social change: they broke down religious, social and gender barriers, and developed a prototype for a healthcare model that the secular world emulated. Many women responded to the unprecedented suffering and cataclysmic conditions of the Civil War in a multitude of ways, and philanthropy was forever changed as a result. Wartime benevolence provided templates for large-scale voluntary organizations, illuminated the issue of payment for charity workers, moved the practice of philanthropy from individual to institutional, and led to the development of nursing as a profession. Female voluntarism shifted into the front and center of the public sphere. Charitable work moved along the continuum from individual to institutional, from volunteer to professional. Questions regarding the respective roles of payment to charitable workers developed. Nursing gained recognition as a profession, and formal training began. The Sisters of Charity were leaders in all these areas, and their orders served as models for the future of philanthropy. Yet they are often absent from analyses of the trajectory of nineteenth-century philanthropy, and this thesis delivers them to the discussion.