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My dissertation examines the cross-class relations of Victorian women separated by social status but brought together by their faith in a subversive Christian God who supports female labour. Using original archival research, this project documents the untold story of working-class women and their middle-class allies who challenged patriarchal interpretations of Christian theology and, particularly, the limitations placed on women’s material lives. Drawing on Victorian social thought, feminist autobiography theory, and contemporary body theology, my project pursues two complementary objectives. The first aim is to bring the neglected voices of working-class women into the debates about gender, labour, and cross-class relations that defined the Victorian period. The second is to trace the origins of a feminist “theology from below,” which, born out of the material grittiness of everyday life in the nineteenth century, emphasized the incarnational nature of all bodies, including those labeled dirty, disabled, and perverse. My first two chapters respectively explore the diaries of two well-known Victorian women, Josephine Butler and Hannah Cullwick. Both reconfigure Christian discourses of mission and servitude, seeking not only agency within their positions of subjugation but also new models of relationality. The final two chapters bring together the voices of Jane Andrew (a farm worker) and Ruth Wills (a factory worker) with the writings of fin-de-siècle Christian socialists to construct a politics of redemption based on an ethics of inter-relation that, instead of positioning some bodies as “godly” and others as in need of “saving,” recognizes the immanent divine spirit animating all material life. Using contemporary feminist theology to strengthen the incarnational politics found in these Victorian writings, I argue in favour of bodily transgression—the willingness to walk, talk, touch, and labour in ways that are thought to be “perverse” and “ungodly”—as a legitimate answer to Christ’s call to defy social hierarchies, especially the ones established by capitalist modernity. / Thesis / Doctor of Philosophy (PhD)

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The Penny Post (1851–1896), a religious working-class magazine, was published following a critical time for the Oxford Movement, a High Church movement in the Church of England. The Oxford Movement's ideas were leaving the academic atmosphere of Oxford and traveling throughout the local parishes, where the ideals of Tractarian teachings met the harsh realities of practice and the motivations and beliefs of the working-class parishioners. The upper-class paternalistic ideologies of the Oxford Movement were not reflected in the parishes, and the working-classes felt distanced from their place in religious worship. The Penny Post was published and written by Tractarian clergymen and followers to "triumph in the Working Man's Home," attempting to convince a working-class audience that the upper-class Tractarian clergymen and parishioners both understood and wanted to help the poorer peoples of society. However, an analysis of the Penny Post reveals that its creators had more complex motives and were targeting a more diverse audience than they claimed. Because of these complexities, the Penny Post's creators could not reconcile the discrepancies between working-class ideologies and upper-class ideologies; the Penny Post, in the end, undermined its own intended purposes. The elements of the magazine that attempted to address working-class concerns were overshadowed by other elements that, while appearing to address working-class concerns, directly targeted an upper-class audience. This dichotomy of purpose—simultaneously addressing different classes with different, often contradictory, beliefs—reveals the multifaceted nature of the Penny Post's efforts to reach their audiences. The Penny Post is a magazine that simultaneously addresses an upper-class audience and a working-class audience, a duality that creates ideological contradictions and tensions throughout the magazine. These tensions reflect the class issues within Victorian society and the ways religious movements dealt with those tensions in periodicals like the Penny Post. The Penny Post provides an important look into how the Oxford Movement, a movement not known for its understanding of and interest in the working classes, did attempt to reach and understand the working classes through periodical literature.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The cultural productions of Katherine Anne Porter, Anita Brenner, Tina Modotti, Maria Izquierdo, and Juanita Guccione represent a distinctive interweaving of gender and class consciousness, national identification and political resistance, as represented in their artistic work. These five women became transnational carriers of a radical realist and modernist thought, culture, and ideology that became transported through their art when their gendered and classed bodies were left otherwise silenced and boundaried. These women, their cultural productions, and the ways in which their art generates a counter discourse to the dominant and institutionalized conceptions of transculturalism, aesthetics, and re-production, are vital to understanding the co-construction of nationhood as well as the self-determined creation of the individual self. From this overarching framework, I will explore how these women negotiated political conceptions of nationhood, artistic genres such as realism and modernism, and then created their own feminist, transcultural and working-class aesthetics to counter otherwise limited conceptions of individual agency.

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