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<p>'!his thesis traces the political evolution of a number of Edwardian women activists. '!he careers of the three women who are central to this work, Kathleen Courtney, catherine Marshall and Helena swanwick, illustrate the developing political consciousness of this second generation of feminists who built upon the work of their Victorian predecessors. The leadership and inspiration of the three women, which began in the suffrage movement, took a new direction in 1914. With the outbreak of war, they turned their efforts to peace work. The refusal of the National Union of Women's Suffrage Societies to support this new cause led to a realignment of forces when the dissenting members, led by the three, joined the ranks of men and women, particularly in the labour movement and the Union of Democratic Control, dedicated to seeking the peaceful resolution of international disputes. the opportunity to combine work for peace and suffrage was provided in April 1915 with the establishment of a new women's organization at the Congress held at the Hague. the British section of this new body was the Wanen' s International League. This organization became at once an integral part of the national peace movement, while retaining its identity as an women's organization. the purpose of the WIL was two-fold: one was to secure an errluring peace; the other, to educate women for citizenship. '!his war-time advocacy of a new basis for international relations led to a life-long contentment to internationalism for Courtney Marshall and Swanwick.</p> <p>Although in the short time they failed. in their objective of revolutionizing international relations, they did effect some enduring achievements. '!hey contributed to popularizing the idea of a league of Nations. Above all, they pressed successfully, sane steps further along the road, their claim to equal--citizenship for women.</p> / Doctor of Philosophy (PhD)

Building on Penelope Summerfield’s argument that the end of the Victorian music hall in the early twentieth century signaled not “death” but a class-conscious evolution of the genre prompted by a “process of deliberate selection later made to look natural and inevitable,” this project examines the acts of censorship and resistance which characterised the final years of the Victorian music hall. Selecting the 1912 Royal Variety or Royal Command Performance as the “end” point of the genre, and limiting my focus to London music halls, this project examines competing aims of working, middle, and upper class participants: it suggests that the upper-class aspirations of the managers of London’s music halls, paired with middle-class moral desire for social control over the working-classes, eventually enforced by the London County Council in the mid-late nineteenth century, saw the rise of “respectability” in the genre while severing its ties to London’s working classes. Juxtaposing ephemeral evidence produced by or focused on London music halls in the late nineteenth century (leading up to and including the 1912 Royal Command Performance) with contemporary research on the classed nature of social control and censorship practices, this thesis intends to make the classed-struggle for power and ownership over the identity of London’s music halls evident. In doing so, the thesis alludes to the potential success of a third wave of music hall or the neo-music hall, to replace out-dated reflections of the music hall revival sparked by “The Good Old Days” and nostalgia post World War II. / Thesis / Master of Arts (MA) / This thesis pairs an analysis of meeting minutes, newspaper articles, song-sheets, and theatrical programmes from London’s Victorian music halls with contemporary music hall scholarship and studies of censorship to add to the discussion of the genre’s “end” or “death.” Using the work of Judith Butler, this thesis is divided into a study of how censorship transformed the music hall’s landscape, content, and culminating performance from its onset. As a result, this thesis argues that the controlling factors which shaped the genre led to what other music hall scholars have considered its end. By identifying the styles and modes of censorship used in the evolution of the English music hall genre, and in in-period methods of resistance to social control, this project suggests the radical potential of the music hall form as a contemporary style of theatre.

M.A. / Please refer to full text to view abstract

Partant de la définition que donne Patrick Brantlinger du gothique impérial victorien, ce travail aborde la manière dont l’Egypte, à travers le prisme de l’archéologie, est devenue un objet littéraire dans les dernières années du XIXe siècle. À mi-chemin entre science et aventure impériale, l’archéologie – et, plus particulièrement, l’égyptologie – est vite devenue un motif gothique, comme en témoignent les nombreux romans et nouvelles qui composent le genre de la mummy fiction. En examinant les écrits de Bram Stoker, Henry Rider Haggard, Arthur Conan Doyle et Sax Rohmer, entre autres, cette thèse considère la manière dont le motif archéologique a parcouru différents genres populaires, depuis le roman d’aventures jusqu’au fantastique, avant d’être approprié par le roman policier. L’étude de ces textes révèle combien l’histoire antique de l’Egypte, liée à un imaginaire magique, fascinait autant qu’elle effrayait dans la mesure où elle semblait ébranler les certitudes de la science moderne. Dans le même temps, l’histoire politique contemporaine de l’Egypte – et son statut ambigu au sein de l’Empire britannique – générait également une certaine angoisse, qu’alimentait la crainte du déclin et de la dégénérescence de l’Empire et de la civilisation britannique. La représentation fictionnelle de l’antiquité égyptienne – et de la figure de la momie en particulier – traduit la peur grandissante avec laquelle les Britanniques considéraient un Empire qui, à la manière des momies égyptiennes, menaçait de se soulever et de se venger du colonisateur. C’est ainsi que l’archéologie peut être lue comme une métaphore des relations et des angoisses impériales tandis que la momie incarne ce que l’on peut interpréter comme un refoulé impérial arraché aux profondeurs de l’inconscient collectif britannique au moment même où Freud développait les méthodes de la psychanalyse. / Taking Patrick Brantlinger’s definition of late-Victorian imperial Gothic as a starting point, this dissertation considers how Egypt became a literary object in the late nineteenth century through the prism of archaeology. Pertaining as much to science as to imperial adventure, archaeology – and Egyptology in particular – soon entered fiction as a Gothic trope, as is evinced by the great number of novels and short stories that form the genre of mummy fiction. By focussing on texts by Bram Stoker, Henry Rider Haggard, Arthur Conan Doyle and Sax Rohmer, among others, this work examines how the archaeological motif travelled through various popular genres, from the adventure novel to the fantastic, before being taken up by writers of detective fiction. The study of these texts reveals that Egypt’s ancient history, full of magical potential, was an object of fascination as well as fear insofar as it seemed to shatter the certainties of modern science. Meanwhile, the modern political history of Egypt – and its ambiguous position within the British Empire – also engendered a certain anxiety, fuelled by a more general concern about the decline and degeneration of the Empire and British civilisation. The depiction of Egyptian antiquity in fiction – and the figure of the mummy in particular – conveys the growing unease with which the British viewed an Empire which, quite like Egyptian mummies, threatened to rise and wreak its revenge upon the coloniser. Thus, archaeology came to stand for a metaphor of imperial relations and anxieties while the mummy embodied what can be read as an imperial repressed excavated from the depths of the collective British subconscious at the time when Freud was developing the method of psychoanalysis.

This thesis explores prevailing and changing attitudes among Protestant Christians as manifested in the World Missionary Conference of 1910, held in Edinburgh, Scotland. It compares the conference to missionary literature to demonstrate how well it fit the context of the missionary endeavor during the Edwardian era. It examines the issues of race and empire in the thinking of conference participants. It pays particular attention to the position of West Africa and West Africans in conference deliberations. It suggests that the conference, which took place soon after the scramble for empire and just before World War I and the subsequent upsurge of nationalism and anti-colonialism, offers a valuable historical perspective on the uneven nature of globalizing Christianity.

This thesis analyses the figure of Arthur, in a period spanning the mid-nineteenth to mid-twentieth centuries, when that figure became increasingly protean and multifaceted, and the audience for the Arthurian legend grew in both size and variety. It argues that many authors wrote through Arthur, as well as about Arthur, using the figure to understand and test their own ideas about ideals (e.g. of manliness, kingship, or heroism) as well as problems (such as war, despotism, or ungodliness). This thesis analyses Arthur by considering him as a 'type', using a definition of the term that highlights a paradox: a type, in a scientific sense, is both perfect (an exemplary model) and normal (common enough to be representative). When applied to Arthur, it means that he is both a perfect, or near perfect, example, but is also to some extent a 'normal' human being. Different authors analysed in this thesis emphasise different aspects of the figure, according to whether they focus on Arthur's perfection or his normality. Other meanings of the word 'type' are also applied when relevant: the idea is not to force all versions of Arthur into a single or definitive category, but to retain the complexity of how Arthur is characterised and written about in texts. The ultimate aim of this thesis is to put the figure of Arthur into critical focus, and explain why he has been returned to so often in history.

Late-nineteenth and early twentieth-century Dundee had a strikingly large female workforce and this fact has attracted much scholarly attention. But existing research has not probed the official crime records to determine whether the associated local stereotype of the disorderly mill worker, as a ‘moral blot' on the landscape, is justified. This study looks at female criminality in Dundee 1865–1925. It finds that drunkenness, breach of the peace and theft were the leading female offences and that the women most strongly associated with criminality belonged to the marginalised sections of the working class. Amongst them were the unskilled mill girls prominent in the contemporary discussions, but it was prostitutes and women of ‘No Trade' who appear to have challenged the police most often. They were frequently repeat offenders and consequently this thesis devotes considerable attention to the women entrenched in Dundee's criminal justice system. A pattern noted in the city's recidivism statistics, and often echoed elsewhere, is that the most persistent offenders were women. The fact that men perpetrated the majority of petty crime raises the suspicion that the police statistics capture differential policing of male and female recidivists – an idea that builds upon feminist theory and Howard Taylor's stance on judicial statistics. Yet a detailed study of the archives reveals that there are as many examples of the police treating women fairly as there are of gender-biased law. Indeed, several practical constraints hindered over-zealous policing, one of which was the tendency of the local magistrates to throw out cases against prostitutes and female drunks. This thesis, taking the police and court records as a whole, emphasizes that it was generally pragmatism, rather than prejudice, that guided the sanctioning of female recidivists in Dundee.

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