Only recently has mainstream American theatre celebrated minority representation on the stage. Small percentages of ethnically diverse actors perform in American theatre due to character-casting limitations and white male playwrights which dominate theatrical history and limit the representation of our diverse and multicultural world. By adapting the Hebrew Book of Ruth to stage, I hope to contribute a female voice and provide opportunities for women of ethnic, cultural, and socio-economic diversity on the stage. Like Shakespeare’s plays, this adaptation will be written in verse; however, "Pilgrims Far from Home" mimics the style of Hebrew and Ottoman poetry to pay homage to the story’s origins and contribute to the diversity of voices outside of the western poetic style. This story emphasizes female relationships and how our sisterhood can unify people of different walks of life. "Pilgrims Far from Home" brings this ancient religious text into the 21st century by addressing contemporary issues such as otherness, particularly in light of refugee crises. My project aims to contribute to the diversity of contemporary American theatre by using a well-known and multi-cultural story to address and ease the suffering relationships between peoples in our present-day society.

La Llorona's ghostly figure has haunted the pages of Chicanx literature for years as the monstrous woman. While her story shifts forms depending on the cultural context, the essentials remain: she was a woman, wronged by the father of her children, who now wanders the rivers at night wailing for the two children she drowned in anger, grief, or desperation. She has often been considered a monstrous figure whose function has been to regulate female identity. However, authors like Gloria Anzaldúa and Sandra Cisneros have sought to reclaim this ghostly visage from the grasp of patriarchal structures that condemn la Llorona's actions. Anzaldúa's poem "My Black Angelos" and Sandra Cisneros' short story "Woman Hollering Creek" revise la Llorona to acknowledge the female agency she represents. While critics have focused on feminine agency in these works, the function of the monstrous has been overlooked. The monstrous usually refers to something feared or uncanny with women and people of color's bodies representing cultural fears, but in these cases the monstrous is reimagined as a tool for agency. Through the lens of monster theory, and drawing on the theories of Jeffrey Cohen, Cristina Santos, and Luce Irigaray, this paper argues that Anzaldua's and Cisneros' representations of la Llorona develop feminine agency and community just as other critics have mentioned, but they also complicate monster theory by resituating the subjectivity to account for the postive monster of la Llorona. Through this, monster theory's dependence on a self/other dichotomy falls away and, with it, la Llorona's position as only a monster to be feared. Instead, these representations of la Llorona invite Chicanx women into the community of the monstrous, where Cisneros and Anzaldúa transform it from an androcentric space of "othering" and oppression to one of belonging and power. 

British women participated in public political work at a higher rate than ever before during the 1906 United Kingdom general election campaign. Working as fundraisers, door-to-door canvassers, and even orators, women were particularly active in debating the campaign's central economic question: should Britain uphold the free trade policies it had maintained since the 1840s, or should it follow its economic rivals, Germany and the United States, in strengthening tariff protections? Dorothy M. Hunter (1881-1977) rose to prominence during this period as a compelling public speaker who worked on behalf of the Liberal Party and its free trade agenda. Her career serves as a fascinating case study for understanding how some British women established their credibility in traditionally male spheres at the beginning of the twentieth century; nevertheless, historians of the Edwardian era have largely overlooked her work. Based on an analysis of the collection of Hunter's documents held at the Surrey History Centre in Woking, England, this paper argues that Hunter built her authority as an activist in the public sphere upon the conventional understanding of women's power over the private sphere. Following the rhetorical tradition established by Victorian philanthropists, Hunter increased the scope of her influence by extending the definition of "the household" and "domestic duty" to encompass public life and civic virtue. This strategy is present throughout her work from 1900 to 1914, from emotionally persuasive didactic literature written early in her career to economic arguments presented in public meeting halls at the height of her fame.

“Native Homes: Xavier’s path from Sápmi to Tacoma” is a work of creative nonfiction grounded in scholarly and archival research about the first theologian at Pacific Lutheran University (PLU). Johan Ulrik Xavier was an Indigenous Sámi man from Northern Norway (Sápmi). The Sámi people have always been semi-nomads moving with their reindeer. When Xavier’s family came to the United States in 1873, they left their traditional lifeway behind. Almost 150 years later, I left my Sámi community in Tromso for an education in the U.S. and found myself attending PLU. I stumbled upon the name Xavier on a campus building and I was told he was Sámi. “Native Homes” implements research on the significance of place and why people move, especially through an Indigenous perspective. While trying to understand who Xavier was and why his family moved, I found out that I am distantly related to Xavier. After feeling guilty for leaving my community, I was absolutely stunned by the fact that someone related to me had done the same 150 years earlier and ended up in the same place. This gave me a new connection to this land. “Native Homes” combines my archival research findings with my personal exploration of the definition of home. A Sámi writer named Nils Aslak Valkeapää once wrote: “My home is in my heart; it migrates with me.” I wondered if it was possible that Xavier and I had managed to bring our Native homes this far from our Native lands. Through my essay, I strive to answer the questions: Is it possible for Native individuals to leave their Native land and still have strong ties to their culture? Is it possible to have multiple homes?