Abstract
This thesis examines the life of circus equestrian star Josephine DeMott Robinson whose career spanned the Golden Age of the circus. Through the use of performative feminism and queer theory I will challenge the traditional views of the circus performers which argued that these performers either lacked performative agency or resided in a unique space where such acts of agency were fostered. This thesis contends that both of these perspectives oversimplify the complex intersections of race, class, sexuality, and personal experience on the performance of gender. The contention is that all performances are unique driven by the aforementioned factors as well as outside stimuli such as the pushback from the patriarchy. By studying DeMott Robinson’s life, the thesis reveals that there is a balance between social expectations and personal identity formation that can be offset by traumatic interactions. DeMott-Robinson is an ideal subject because she navigated circus culture, high society, and the rugged frontier of Alaska. This research looks at Josephine DeMott Robinson’s autobiography, diaries, news articles, and circus route books to understand her role in circus culture and her interactions with society. By using third-wave feminist theory, Judith Butler’s ideas on performative feminism, queer theory, and intersectionality, this study shows how DeMott-Robinson challenged traditional gender roles and developed an identity that supported feminist causes. This research is beneficial because it normalizes the use of queer theory into historical research creating more complex understanding than offered by traditional methods of studying gender. This research improves the understanding of performative spaces, and their relation to identity formation among marginalized populations in the 19th century.