Because so many people have contributed analyses of Aimee Semple McPherson’s significance, one might well ask what more there could possibly be to say. The purpose of this article is not to break new ground on McPherson herself, but rather to apply a gendered lens to the existing McPherson scholarship in order to suggest three ways to use theories from gender studies to think about Aimee Semple McPherson, worship, and the arts. These theories prove fruitful for the case of McPherson, and there is every reason to think it would be a useful exercise to apply similar approaches to our study of other pentecostal, charismatic, and revivalist leaders.
Estrelda Y. Alexander“Aimee Semple McPherson: The International Church of the Foursquare Gospel,” in Limited Liberty: The Legacy of Four Pentecostal Women Pioneers(Cleveland OH: The Pilgrim Press 2008): 89–117; and Jack W. Hayford and S. David Moore “Aimee America and Pentecostalism” in The Charismatic Century: The Enduring Impact of the Azuza Street Revival (New York: Warner Faith 2006): 131–158.
Erving GoffmanThe Presentation of Self in Everyday Life (New York: Doubleday Anchor Books1959); Goffman Where the Action Is: Three Essays (London: Allen Lane 1969); and Goffman Relations in Public: Microstudies of the Public Order (New York: Harper & Row 1971).
Linda M. Ambrose“Gender History in Newfoundland Pentecostalism: Alice Belle Garrigus and Beyond,”PentecoStudies: An Interdisciplinary Journal for Research on the Pentecostal and Charismatic Movements15 no. 2 (2016): 172–199; and Ambrose “Establishing a Gendered Authority through Pentecostal Publications: The Writings of Zelma Argue 1920–1969” Historical Papers: Journal of the Canadian Society of Church History (2009): 69–80.
Joanna Bowen Gillespie“ ‘The Clear Leadings of Providence’: Pious Memoirs and Problems of Self-Realization for Women in the Early Nineteenth Century,”Journal of the Early Republic5 no. 2 (Summer 1985): 197–221.