Full bibliography

This dissertation traces a shift in the Communist Party of Canada, from the 1929 to 1935 period of militant class struggle (generally known as the ‘Third Period’) to the 1935-1939 Popular Front Against Fascism, a period in which Communists argued for unity and cooperation with social democrats. The CPC’s appropriation and redeployment of bourgeois gender norms facilitated this shift by bolstering the CPC’s claims to political authority and legitimacy. ‘Woman’ and the gendered interests associated with women—such as peace and prices—became important in the CPC’s war against capitalism. What women represented symbolically, more than who and what women were themselves, became a key element of CPC politics in the Depression decade. Through a close examination of the cultural work of two prominent middle-class female members, Dorothy Livesay, poet, journalist and sometime organizer, and Eugenia (‘Jean’ or ‘Jim’) Watts, reporter, founder of the Theatre of Action, and patron of the Popular Front magazine New Frontier, this thesis utilizes the insights of queer theory, notably those of Eve Kosofsky Sedgwick and Judith Butler, not only to reconstruct both the background and consequences of the CPC’s construction of ‘woman’ in the 1930s, but also to explore the significance of the CPC’s strategic deployment of heteronormative ideas and ideals for these two prominent members of the Party.

Accepted: 2010-12-01T15:18:13Z