The main purpose of this study is to provide a re-assessment of the early twentieth century women's suffrage movement, thereby challenging much of the existing historiography of this subject. The approach is based upon the premise that it is not possible to understand the nature and significance of the women's suffrage movement through accounts of the lives of a few of its charismatic leaders. A far broader analytical framework is necessary. This begins with the nature of the arguments about women and their place in society, which were utilised in support of votes for women. It then extends to an analysis of the success gained in conveying such ideas to a wide body of women, who in the case of Britain, if not elsewhere in Europe and North America, were drawn from all social classes. The final step is to assess the impact of the women's suffrage movement upon the broader political system in which it operated. For the eventual success of the movement in gaining votes for women cannot be explained solely in terms of its own internal dynamics. Rather it is necessary to examine the inter-action between the way the various suffrage organisations viewed and related to the current political environment, and the way political leaders and parties viewed and acted in response to suffrage activities. This analytical framework unites two strands of historical research which at present seem to have developed in isolation from each other. That is, it combines the concern of the new feminist historiography with the evolution of modern sex-roles, with the more traditional political and constitutional historians' interest in women's suffrage as a problem for party politics and public order.

The illustrative work of Edward Linley Sambourne for Punch magazine during the period 1901-1910 addresses a myriad of political topics prevalent during the Edwardian period in British history. This thesis examines two of those topics - Women's Suffrage and Socialism - through their artistic treatment by one of Britain's most influential periodicals. Through a study of the historical context and iconography of selected cartoons-of-the-week, one is better equipped to understand and appreciate the meaning, message, and humor in the cartoons. Chapter 1 introduces the Sambourne, Punch magazine, and the Edwardian period in general. Chapters 2 and 3 discuss four Women's Suffrage cartoons and four Socialism cartoons respectively. Chapter 4 draws conclusions regarding Sambourne's techniques as a cartoonist as well as the relationship between the text and image in his illustrations.

This thesis challenges the conventional wisdom that the W.S.P.U.'s strategy choices were unimportant in regard to winning women's suffrage. It confirms the hypothesis that the long-range strategy of the W.S.P.U. was to escalate coercion until the Government exhausted its powers of opposition and conceded, but to interrupt this strategy whenever favorable bargaining opportunities with the Government and third parties developed. In addition to filling an apparent research gap by systematically analyzing these choices, this thesis synthesizes and tests several piecemeal theories of social movements within the general framework of the natural history approach. The analysis utilizes data drawn from movement leaders' autobiographies, documentary accounts of the militant movement, and the standard histories of the entire British women's suffrage movement. Additionally, extensive use is made of contemporary periodicals and miscellaneous works on related movements.