Collective violence : a study of the gendered and socio-economic factors behind early modern Italian and English witch hunts

In this study, I build upon my previous research in which I focus on religious doctrine as a gendered disciplinary apparatus, and examine the witch trials in early modem England and Italy in light of socio-economic issues relating to gender and class. This project examines the witch hunts/trials and early modem visual representations of witches, and what I suggest is an attempt to create docile bodies out of members of society who are deemed unruly, problematic and otherwise 'undesirable'; it is the witch's body that is deemed counternormative. This study demonstrates that it is neighbours and other acquaintances of accused witches that take on the role of the invisible guard of Bantham's Panoptic on. As someone who is trained in the study of English literature and literary theory, my approach is one that is informed by this methodology. It is my specialization in early modem British literature that first exposed me to witch-hunting manuals and tales of the supernatural, and it is for this reason that my research commences with a study of representations of witches and witchcraft in early modem England. From my initial exposure to such materials I proceed to examine the similarities and the differences of the cultural significance of the supernatural vis-a.-vis women's activities in early modem Italy. The subsequent discussion of visual representations of witches involves a predominance of Germanic artists, as the seminal work on the discernment of witches and the application of punishment known as the Malleus Meleficarum, was written in Germany circa 1486. Textual accounts of witch trials such as: "A Pitiless Mother (1616)," "The Wonderful Discovery of the Witchcrafts of Margaret and Philippa Flower (1619)," "Magic and Poison: The Trial ofChiaretta and Fedele (circa 1550)", and the "The Case of Benvegnuda Pincinella: Medicine Woman or Witch (1518),"and witchhunting manuals such as the Malleus Melejicarum and Strix will be put in direct dialogue with visual representations of witches in light of historical discourses pertaining to gender performance and gendered expectations. Issues relating to class will be examined as they pertain to the material conditions of presumed witches. The dominant group in any temporal or geographic location possesses the tools of representation. Therefore, it is not surprising that the physical characteristics, sexual habits and social material conditions that are attributed to suspected witches are attributes that can be deemed deviant by the ruling class. The research will juxtapose the social material conditions of suspected witches with the guilt, anxiety, and projection of fear that the dominant groups experienced in light of the changing economic landscape of the Renaissance. The shift from feudalism to primitive accumulation, and capitalism saw a rise in people living in poverty and therefore an increased dependence upon the good will of others. I will discuss the social material conditions of accused witches as informed by what Robyn Wiegman terms a "minoritizing discourse" (210). People of higher economic standing often blamed their social, medical, and/or economic difficulties on the less fortunate, resulting in accusations of witchcraft.

Factors affecting a woman's decision to leave an abusive relationship : the theory of planned behaviour /

The present study tested the appHcabiUty of Ajzen's (1985) theory of planned behaviour (TPB), an extension of Fishbein and Ajzen's (1975) theory of reasoned action (TRA), for the first time, in the context of abused women's decision to leave their abusive relationships. The TPB, as a means of predicting women's decision to leave their abusive partners' was drawn from Strube's (1988, 1991) proposed decision-making model based on the principle that the decision-making process is a rational, deliberative process, and regardless of outcome, was a result of a logical assessment of the available data. As a means of predicting those behaviours not under volitional control, Ajzen's (1985) TPB incorporated a measure of perceived behavioural control. Data were collected in two phases, ranging from 6 months to 1 year apart. It was hypothesized that, to the extent that an abused woman held positive attitudes, subjective norms conducive to leaving, and perceived control over leaving, she would form an intention to leave and thus, increase the likelihood of actually leaving her partner. Furthermore, it was expected that perceptions of control would predict leaving behaviour over and above attitude and subjective norm. In addition, severity and frequency of abuse were assessed, as were demographic variables. The TPB failed to account significantly for variability in either intentions or leaving behaviour. All of the variance was attributed to those variables associated with the theory of reasoned action, with social influence emerging as the strongest predictor of a woman's intentions. The poor performance of this model is attributed to measurement problems with aspects of attitude and perceived control, as well as a lack of power due to the small sample size. The insufficiency of perceived control to predict behaviour also suggests that, on the surface at least, other factors may be at work in this context. Implications of these results, and recommendations such as, the importance of obtaining representative samples, the inclusion of self-esteem and emotions as predictor variables in this model, a reevaluation of the target behaviovu" as nonvolitional, and longitudinal studies spanning a longer time period for future research within the context of decision-making are discussed.

The new woman, femininity and modernity in Margery Allingham's detective novels of the 1930s /

This thesis examines Death of a Ghost (1934), Flowers for the Judge (1935), Dancers in Mourning (1937), and The Fashion in Shrouds (1938), a group of detective novels by Margery Allingham that are differentiated from her other work by their generic hybridity. The thesis argues that the hybrid nature of this group of Campion novels enabled a highly skilled and insightful writer such as Allingham to negotiate the contradictory notions about the place of women that characterized the 1930s, and that in dOing so, she revealed the potential of one of the most popular and accessible genres, the detective novel of manners, to engage its readers in a serious cultural dialogue. The thesis also suggests that there is a connection between Allingham's exploration of modernity and femininity within these four novels and her personal circumstances. This argument is predicated upon the assumption that during the interwar period in England several social and cultural attitudes converged to challenge long-held beliefs about gender roles and class structure; that the real impact of this convergence was felt during the 1930s by the generation that had come of age in the previous decade-Margery Allingham's generation; and that that generation's ambivalence and confusion were reflected in the popular fiction of the decade. These attitudes were those of twentieth-century modernity--contradiction, discontinuity, fragmentation, contingency-and in the context of this study they are incorporated in a literary hybrid. Allingham uses this combination of the classical detective story and the novel of manners to examine the notion of femininity by juxtaposing the narrative of a longstanding patriarchal and hierarchical culture, embodied in the image of the Angel in the House, with that of the relatively recent rights and freedoms represented by the New Woman of the late nineteenth-century. Pierre Bourdieu's theory of social difference forms the theoretical foundation of the thesis's argument that through these conflicting narratives, as well as through the lives of her female characters, Allingham questioned the Hsocial myth" of the time, a prevailing view that, since the First World War, attitudes toward the appropriate role and sphere of women had changed.

(Re)Thinking bodies : Deleuze and Guattari's becoming- woman

Abstract (Re)thinking Bodies: Deleuze and Guattari 's becoming-woman seeks to explore the notion of becoming-woman, as put forth by Gilles Deleuze and Felix Guattari in their collaborative 1982 text, A Thousand Plateaus: Capitalism and Schizophrenia, and as received by such prominent feminist theorists as Rosi Braidotti and Elizabeth Grosz. Arguing that the fairly decisive repudiation of this concept by some feminist theorists has been based on a critical misunderstanding, this project endeavors to clarify becomingwoman by exploring various conceptions of the body put forth by Baruch de Spinoza, Friedrich Nietzsche and Simone de Beauvoir. These conceptions of the body are indispensible to an appreciation of Deleuze and Guattari's notion of a body lived on both an immanent and transcendent plane, which, in turn, is indispensable to an appreciation of the concept of becoming (and, in particular, the concept of becoming-woman) as intended by Deleuze and Guattari.

Books on the border land : a Mennonite woman's memoir of reading and remembering the sacred

This arts-based thesis, written from my perspective as a Manitoba Mennonite woman and English Language Arts educator, is a memoir of books and reading. As a voracious reader, I am dismayed by the general perception of literacy in public schools as being a set of measureable tasks, and I have found that reading, in particular, has become divorced from its traditional link to life-giving and sacred things. In this thesis, I used life writing to share some of my reading history to illustrate, in part, the degree to which books may enrich our lives by helping us understand the past, present, and future - but only if we allow them to do so.

Photograph of Unidentified Woman by C. Arthur, Photographer, St. Catharines [n.d.]

An unidentified young woman is featured in this undated black and white studio photograph by C. Arthur, Photographer, of St. Catharines, Ontario. This small cabinet card photograph was in the possession of the Iris Sloman Bell family of St. Catharines. Relatives of the Sloman - Bell families include former African American slaves who settled in Canada.Two photographers by the name of Arthur are listed as working in St. Catharines, Ontario in the second half of the 19th century. Charles A. Arthur was a photographer from 1880 - 1883, while Charles P. Arthur (possibly a son?) is listed as a photographer in 1898. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Photograph of Young Woman by R. F. Uren, Photographer, St. Catharines [n.d.]

Undated black and white cabinet card portrait of an unidentified young woman. This photograph was taken by R. F. Uren whose studio was located at 79 St. Paul St., St. Catharines, Ontario. This item was among the memorabilia in the possession of the Rick Bell family of St. Catharines. Relatives of the Bell family are descended from former Black slaves from the United States.Richard Frank (R.F.) Uren was a photographer in St. Catharines from 1886-1895. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Iris Sloman with unidentified woman and sister Helen Sloman [n.d.]

Iris Sloman, at left, with her sister, Helen, far right, and an unidentified woman on the beach in this undated photo. The location could possibly be Port Dalhousie or Parry Sound. This photo was among the family memorabilia retrieved by Rick Bell from his mother's attic in St. Catharines in the 1980s. The Bell - Sloman family descends from former African American slaves who settled in the London and St. Catharines areas.

Portrait of Young Woman by I. H. Lewis, Photographer [n.d.]

An unidentified young Black woman is featured in this cabinet card portrait by photographer I. H. (Isaac) Lewis, of Toronto. The photographer's name and address is stamped in gold lettering on the lower front of the card. The address is given as 106 1/2 Queen St. W., Toronto. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Bell - Sloman family relatives include former Black slaves from the United States who settled in Canada.Isaac H. Lewis was a photographer in Toronto from 1886 - 1900. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Cabinet Card of Young Woman Photographed by N. C. Shorey, of Toronto [n.d.]

An unidentified African Canadian young woman is the subject of this cabinet card portrait photograph by N. C. Shorey, of Toronto, Ontario. The photo is undated but believed to be taken in the late 1890s. The photographer's stamp, with his name and address, appears in the gold lettering at the bottom of the card. The young woman in the photograph could possibly be a relative of the Sloman - Bell family, who resided in the London and St. Catharines areas. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family relatives are descended from former Black slaves from the United States.N. C. Shorey is listed as a photographer in Toronto, Ont. from 1892 - 1900. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Tintype of Unidentified African American Woman Leaning on Chair [n.d.]

A small tintype of a young Black woman dressed in white. The date, location and name of the photographer are unknown. This tintype was among the family memorabilia belonging to Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell family are descended from former American slaves."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Young African American Woman Seated at Table [n.d.]

Black and white tintype of an unidentified woman seated with hand-colored red detail on her scarf and the tablecloth. The date, location and photographer are unknown. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Bell - Sloman families include former slaves from the United States who escaped to Canada. They later settled in the London and St. Catharines areas of southern Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Small Tintype of Young Black Woman, Seated [n.d.]

A young woman seated with arm resting on a side table is pictured in this small black and white tintype photograph. The date, location and name of the photographer are unknown. This tintype was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have relatives who were former slaves from the United States. They escaped to Canada and later settled in the London and St. Catharines areas of Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of African American Woman Standing with Book [n.d.]

A woman standing with a book beside a table covered with a decorative cloth is featured in this small black and white tintype photograph. The tintype has been mounted in a paper slip frame with gold edging. There is a small area of red, hand-colored highlighting on the tablecloth. The backdrop appears to be a painted landscape scene. The tintype is undated and there is no indication of the identity of the woman in the photo or the photographer. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have relatives who are former slaves from the United States who later settled in southern Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Young African American Woman Standing with Purse [n.d.]

An unidentified young African American woman stands beside a chair in this small black and white tintype, undated. The name of the photographer is unknown. This tintype was in the possession of the Iris Sloman Bell, of St. Catharines. The Sloman - Bell families have relatives who are descended from former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html