This dissertation provides a history of Spanish-Comanche relations during the era of Spanish Texas. The study is based on research in archival documents, some newly discovered. Chapter 1 presents an overview of events that brought both people to the land that Spaniards named Texas. The remaining chapters provide a detailed account of Spanish-Comanche interaction from first contact until the end of Spanish rule in 1821. Although it is generally written that Spaniards first met Comanches at San Antonio de Béxar in 1743, a careful examination of Spanish documents indicates that Spaniards heard rumors of Comanches in Texas in the 1740s, but their first meeting did not occur until the early 1750s. From that first encounter until the close of the Spanish era, Spanish authorities instituted a number of different policies in their efforts to coexist peacefully with the Comanche nation. The author explores each of those policies, how the Comanches reacted to those policies, and the impact of that diplomacy on both cultures. Spaniards and Comanches negotiated a peace treaty in 1785, and that treaty remained in effect, with varying degrees of success, for the duration of Spanish rule. Leaders on both sides were committed to maintaining that peace, although …

From book jacket: "Submissiveness is not my role, but certain platitudes on certain occasions are among the innocent deceits of the sex." A strong character with a fervent belief in woman's changing place, Lucy Holcombe Pickens (1832-1899) was not content to live the life of a typical nineteenth-century Southern belle. Wife of Francis Wilkinson Pickens, the secessionist governor of South Carolina on the eve of the Civil War, Lucy was determined to make her mark in the world. She married "the right man," feeling that "a woman with wealth or prestige garnered from her husband's position could attain great power." She urged Pickens to accept a diplomatic mission to the court of Tsar Alexander II of Russia, and in St. Petersburg Lucy captivated the Tsar and his retinue with her beauty and charm. Upon returning to the states, she became First Lady of South Carolina just in time to encourage a Confederate unit named in her honor (The Holcombe Legion) off to war. She was the only woman to have her image engraved on Confederacy paper currency, the uncrowned "Queen of the Confederacy."

This thesis examines the role of globalization, an open economy and diasporic experiences on the 1990s popular Indian culture, focusing on discourses of gender, national identity and family. Recent Indian beauty queens and international beauty contests are discussed in the context of gendered nationhood in 1990s India. Several popular films of the 1990s are discussed as narratives expressing longing for an extended family and a homogeneous national identity under the leadership of a traditional father figure. In contrast, independent films interrogate the primacy of ethnic and national identity and raise interesting questions about exilic experience. All of these forms of national and popular culture reflect the conflicting and ever-changing anxieties surrounding national identity and the role of women in India.

Thomas Lovell Beddoes' female dramatic characters are, for the most part, objectified and static, but these passive women perform a crucial narrative and thematic function in the plays. Alongside the destructive activity of the male characters, they dramatize masculine-feminine unions as idealized and contrived and, thus, unstable. Desire, power and influence, as well as the constrictive aspects of physicality, all become gendered concepts in Beddoes' plays, and socially normative relationships between men and women, including heterosexual courtship and marriage, are scrutinized and found wanting. In The Brides' Tragedy, Floribel and Olivia, the eponymous brides, represent archetypes of innocence, purity, and Romantic nature. Their bridegroom, Hesperus, embodies Romantic masculinity, desiring the feminine and aspiring to androgyny, but ultimately unable to relinquish masculine power. The consequences of Hesperus' attempts to unite with the feminine other are the destruction of that other and of himself, with no hope for the spiritual union in death that the Romantic Hesperus espouses as his ultimate desire. Death's Jest-Book expands upon the theme of male-female incompatibility, presenting heterosexual relationships in the context of triangulated desire. The erotic triangles created by Melveric, Sibylla, and Wolfram and Athulf, Amala, and Adalmar are inherently unstable, because they depend upon the …