Queen Victoria

Her picture is on the five-pound British note. She brought about prison reform in Britain, which spread to civilized nations in Europe and beyond. Her school of nursing inspired and supported the work of Florence Nightingale. She was the first woman to address Parliament and did so several times. She was visited in her prison-reform work by kings and queens of Denmark and Prussia. She was a recorded Friends minister who provided Bibles for people, established multiple organizations for social reform, challenged the death penalty and slavery, and who was sponsored by Queen Victoria. Referred to as "the Angel of the Prisons," her name was Elizabeth Fry-a noteworthy Friend, indeed!

This MA Thesis analyses hundreds of Victorian newspapers, periodicals, pamphlets and other media to investigate how Victorian perceptions of Napoleon I affected perceptions of Napoleon III and vice versa. It is argued that Victorian Britons frequently viewed Napoleon III through the lens of Napoleon I with significant consequences for the legacies of both Emperors today. Through analysis of letters to the editor and newspapers which appealed to all classes of society, this thesis does not produce a history of ‘Great Men’ from the top-down but rather an analysis of how such men were perceived from the bottom up and how popular perceptions helped shape their legacies. Why is it that Napoleon I, once the most hated and feared enemy of Britain, has obtained an almost celebrity-like status in Britain today whilst Napoleon III, the friend of Queen Victoria and champion of the entente cordiale is largely forgotten by the general public? The answer, this thesis argues, can be found in Victorian perceptions of both Napoleons, and in the resulting perceptions of themselves.

Las vidas de las seis reinas retratadas en esta obra distan mucho de ser un cuento de hadas. No tuvieron grandes historias de amor porque sus matrimonios eran concertados. Algunas fueron emperatrices en contra de su voluntad y sufrieron depresiones constantes, otras escandalizaron al reino con su extravagante comportamiento o compartieron un trágico final. Todas tienen en común la soledad, la nostalgia, la falta de amor o el sufrimiento por la presión de tener que concebir un heredero al trono. También comparten la dolorosa pérdida de sus descendientes, los fracasos matrimoniales y el sentirse extranjeras en una corte donde no fueron bien recibidas.

The Philadelphia Times included a detailed account of a commemoration of King Charles the Martyr in its January 30, 1897 issue. The article narrates the unveiling of a painting of the Royal Martyr (originally painted with an elderly Queen Victoria's permission for the Church of St. Mary the Virgin, New York) at the Church of the Evangelists, Philadelphia, a major early American center of Anglo-Catholic activity.

Today we tend to see India as the largest democracy on the subcontinent of Asia and our natural ally along with our other democratic ally, Great Britain. India and the independent countries that were created out of the British Raj, namely, Pakistan and Bangladesh (but not Burma, Myanmar today) are members of the British Commonwealth of Nations. But this present-day understanding fails to take into account the history of empire and ethnicity that antedates World War Two. Modern India is the product of two empires that preceded India’s independence, the Mughal Empire and the British Raj. The Moghuls consolidated Islam first introduced by Arab traders into a population that formerly had been primarily Hindu with offshoot of Buddhism. The Raj consolidated the various major linguistic groups (Hindi, Bengali, Urdu, and Tamil) along with numerous minor languages into a single political system and eventually into three nations: primarily Hindu India, mainly Buddhist Burma, and largely Muslim Pakistan (with Bengali-speaking Bangladesh becoming independent from Urdu-speaking Pakistan).

Both the British American colonies and India were settled by Europeans under a similar system of joint-stock companies: the Virginia Company and Massachusetts Bay Company in the case of America and the British East India Company in the case of India. The East India Company established its own army with native recruits and obtained the right to tax the native peoples of India. To run the bureaucracy, it established, the company established schools to train an elite native population. While some company employees married Indian women and adopted India culture, Christian missionaries sought to anglicize the Hindu population and stamp out such traditions as female infanticide and sati (the tradition of widows committing suicide on their husband’s funeral pyres). However, the British made exceptions in the case of the princely states ruled by minority maharajas, who tended to exploit their native population.

In both British North America and India, the corporate structure of government was replaced by royal government in the early eighteenth century in North America and in the mid-nineteenth century in India. The United States gained its independence from Britain during the American Revolution, and ever since it has been a champion of anti-colonialism while buildings its own territorial empire. At a time in the nineteenth century when the United States was expanding from the Atlantic to the Pacific coasts, Great Britain was building an even greater overseas, colonial empire with India as the “Jewel in the Crown.”

In order to defend its ‘Jewel in the Crown”, Britain acquired Burma as shield against the French in Indochina, came in conflict with Tsarist Russia in what has been called the “Great Game,” secured the shortest route to India by way of the Suez Canal by establishing a protectorate over Egypt and so-called mandates under the League of Nations in the Middle East (Palestine, Transjordan, and Iraq). After World War Two with the dismantling of the British Empire, the United States replaced Britain as a world power. But we have inherited a world created by previous empires that have conquered and consolidated various ethnic minorities into multi-ethnic nations not of their making. In this modern world, despite our becoming a world power, we must not lose sight of the principle of self-determination on which our nation is based.

The Victorian Royal Nursery attempts to shed more light on the nursery for the children of Queen Victoria. It examines the creation, organisation, and financing of the nursery, with a consideration of the most important individuals who looked after the Royal children, namely the medical staff, wet nurses, monthly nurses, permanent nurses, governesses and sub-governesses. The study is based mostly on the numerous unpublished documents from the Royal Archives at Windsor as well as the hitherto little-known or unknown sources like the journal of the royal accoucheur Dr Robert Ferguson or the diary of head-nurse Mrs Ann Thurston.

In this highly acclaimed, classic biography of Queen Victoria who, with her irresistible sincerity defined an era and etched her name into history by the power of her personality, Lytton Strachey created a humane portrait of the iconic monarch whose unaffected simplicity, vitality and deep conscientiousness won the hearts of her people.

In this paper, the main literary branches of Victorian literature, alongside the social, moral and political environment of this epoch will be explained. Throughout these pages, the needs of an era greatly affected by the arriving of the Industrial Revolution will be portrayed through the explanation of how the writers of the most influential literary genres of their time attempted to show their criticism towards the consequences of Industrialism, thus making a previous contextualization of this epoch imperative, so the reader may be able to picture the decadence of a period overcome by extreme poverty and an overwhelming working class prejudiced by an aristocratic minority, through the exemplification of the social and moral environment in works from writers like Oscar Wilde and Charles Dickens. The main method conducted for the creation of this paper was the consultation of secondary and tertiary sources such as Internet articles and literary analysis from academics of Higher Education institutions. Throughout this research, it became evident that all three movements (Aestheticism, Realism and Romanticism) shared the common goal of functioning as counter-movements of the Industrial Revolution and of the consequences it brought to British society, therefore making the present analysis necessary to contextualize a period where technology, rational thought and social decadence became a rule.

The chapter explores how an academic history book on nobility is created. It tackles methodological and technical steps, as well se theoretical problems and connects them to the postmodern historiography field. It shows how historians work.

On the eve of her wedding, Prince Albert gave Queen Victoria a large sapphire brooch surrounded by 12 brilliants. Nothing was known about the origins of this jewel until correspondence detailing the sale of the brooch emerged. It was acquired by Prince Albert's father from Dutch Court Jeweller Josephus Jitta.

It is a critical edition of extracts from a virtually unknown diary of Dr Robert Ferguson, a physician and accoucheur to Queen Victoria. Acquired only in 2009, the diary is housed in the archives of the Royal College of Physicians in London. Its highlights include the details of royal arrangements for the birth of the Princess Royal, record of Ferguson's interview with the Queen regarding her mental health in 1841, and most intimate character sketches of the Queen, her husband, Prince Albert, their closest advisor Baron Christian Stockmar, or the Queen's former governess and confidante, Baroness Louise Lehzen.

Kensington Gardens has influenced many artistic and literary ideas, with a strong emphasis on childhood imagination, fantasy and magic. The natural beauty of the Gardens has inspired the artists and writers, who have moulded British mythology by maintaining and re-inventing local myths and legends. They include the poets Thomas Tickell, Matthew Arnold and Robert Browning, The Pre-Raphaelite painters, illustrators Beatrix Potter and Arthur Rackham, authors Kenneth Grahame, A A Milne and perhaps most famously, J M Barrie. The area is rich in local folklore; throughout the ages successive generations of artists and writers have imbued the Gardens with a variety of fantastic and mystical attributes. These mythologies have been continually built upon and reinterpreted for new audiences in a diverse range of creative forms. Kensington Gardens contains a number of alleged sacred sites, some ancient and others more modern. The question is not if all of these myths are derived from truth; it is about identifying them and understanding how and why they came to be. Barrie has been associated with the area since he published The Little White Bird in 1902, marking the first brief appearance of Peter Pan, the boy who wouldn't grow up. Those chapters were later reworked as Peter Pan in Kensington Gardens (1906) illustrated by Arthur Rackham, who depicted actual locations within the Gardens. Fairies, mythical creatures, birds that hatch and become human babies populate Barrie's tales. But these fairies were not the first to be found in Kensington and another wild boy, one who couldn't grow up, lived

Women’s underwear has gone through quite the transformations throughout the years from the preliminary hints of undergarments in Ancient Egypt to the Victorian Age and now in its apex. Undergarments can be viewed as a necessary invention for several reasons, but for women especially, these articles of clothing meet a functional and leisurely need. In the history of costume, underwear seems to be a fixed mainstay staple throughout most of modern historical time periods. The beauty of the subject of panties in particular lies in the fact that it is a multi-functional piece of clothing that serves to hold items in place and, at the same time, helps the woman fulfill an intimate role. Additionally, there is a utility of panties for day and night, as seen with the incorporation of lingerie with the French. The aim of this paper is to historically investigate the evolutionary role of panties and pierce into the notions of its function. Specifically, a new perspective on the function of the panties will be introduced in this paper by looking into the cultures of Ancient Egypt and the American Navajo women and compare that to the heavy use of underwear during Victorian times

En este texto nos proponemos destacar los aspectos más signi-ficativos de las estrategias de representación-estéticas y narrativas-que entretejen los discursos de los filmes dedicados a Victoria del Reino Unido durante las dos primeras décadas del siglo xxi: The Young Victoria (Jean-Marc Valleé, 2009), Mrs. Brown (John Madden, 1997) y Victoria & Abdul (Stephen Frears, 2017) identificando qué elecciones biográficas son desta-can en ellas-qué aspectos se enfatizan, omiten o inventan-con el fin de comprender los mecanismos de articu lación de las diferentes imágenes f ílmicas de la monarca británica y emperatriz de la India.

In this article we intend to focus on the most significant aspects of the aesthetic and narrative strategies which interwave the filmic discourses devoted to Victoria of the United Kingdom along the first two decades of the 21 st century: The Young Victoria (Jean-Marc Valleé,
2009), Mrs. Brown (John Madden, 1997) and Victoria & Abdul (Stephen Frears, 2017). Our aim is to identify which biographical choices are emphasized –that is, which facets are highlighted, omitted or invented– in order to understand which mechanisms articulate several filmic images of the British monarch and Empress of the India.

MÜTERCİM HALÎMÎ EFENDİ1’NİN NOTLARI ÇERÇEVESİNDE SULTAN ABDÜLAZİZ’İN AVRUPA SEYAHATİ VE SONUÇLARI
(21 Haziran 1867 ‐ 7 Ağustos 1867)2

Özet
Sultan Abdülaziz ordusunun başında olmaksızın, Avrupa’yı sadece seyahat ve ikili ilişkiler kurmak amacıyla ziyaret eden ilk Osmanlı padişahıdır. Kırım Savaşı’nın üzerinden on seneden fazla bir zaman geçmiş ve bu arada Avrupa’da dengeler değişmişti.Sırbistan ve Girit isyanları tehlikeli bir boyut almıştı. Alî Paşa hukûmeti, üstadı Reşid Paşa gibi Fransa ve İngiltere’nin des‐ teğini almayı zorunlu görüyordu. III. Napoleon’un, Paris’de açacağı “Umûmî Fuar” bu amaç için önemli bir fırsattı.
Ortaköy Camii’nde Cuma Namazından sonra, görkemli törenlerle başlayan gezi 21 Haziran 1867 ‐ 7 Ağustos 1867 tarihleri arasında tam 46 gün sürmüştü. Sırasıyla Çanakkale Boğazı, Messina, Tulan’a varılmış, halkın büyük tezahüratı altında trenle Marsilya’ya gelinmiş, 30 Haziran’da Paris Garı’nda İmparator III. Napolyon tarafından törenle karşılanmıştır. 10 gün kadar Paris’de kalınmıştır. Daha sonra benzeri merasimler altında Manş Denizi geçilerek Dover Limanı’ndan İngiltere topraklarına ayak basılmıştır. Kraliçe Victoria kendisine İngiltere’nin en büyük nişanı olan “Dizbağı Nişanı” nı takdim etmiştir. Sultan Abdülaziz 23 Temmuz 1867’de Belçika’ya uğur‐ lanmış, Oradan da Viyana’ya geçmiş, burada da Prusya Kralıyla görüşmüştür. Daha sonra Vi‐ din‐Rusçuk‐Varna yoluyla seyahatine devam etmiş. Varna’da tekrar Sultaniye zırhlısına binerek 7 Ağustos 1867’de İstanbul’a dönmüştür.
Genel olarak bakıldığında; Sultan Abdülaziz’in Avrupa seyahati görünüş olarak oldukça muhte‐ şem ve parlak bir seyahattir. Uğradığı her ülkede Sultan ve maiyeti halkın gözlerini kamaştırmış, gazetelerin manşetlerini süslemişlerdir. Ancak değişen siyasî dengeler ve İngiltere’nin emperya‐ list zihniyeti yüzünden umut edilen siyasi sonuçlara ulaşılamamıştır.
Anahtar Kelimeler
Sultan Abdülaziz, Avrupa Seyahati, Halîmî Efendi, III. Napolyon, Kraliçe Victoria.

Halîmî Efendi: Bâbâlî’den yetişmiş ve Mabeyn-i Hümâyûn’a başkatip olmuştur. Bu görevde başarı gösterdiğinden “ikinci katiblik” görevine yükseltilmiştir. Daha sonra (h.1288/m.1871) yılında başkatib olmuştur. Bir yıl sonra Şûrâ-yı Devlet aza- lığına yükseltilmiştir.1875 yılında vefat etmiş ve Karacaahmet mezarlığına gömülmüştür. Mehmed Süreyya, Sicilli Osmânî, (İstanbul, 1311) v. II, 243.
Bu seyahatle ilgili özet bilgiler veren iki makalemiz, birbirinin devamı olarak daha once; Nejdet Gök, “The European Travelogue of Sultan Abdülaziz”, Turkish Area Studies Reviev -Bulletin of the Turkish Area Study Group ,I, (Spring 2003), London, p.28-33. Ve Nejdet Gök, “Sultan Abdulaziz’s Visit to Europe in the Light of the Notes of Halimi Efendi” , Turkish Area Studies Reviev-Bulletin of the Turkish Area Study Group, II, (Autumn 2003), London, p.33-38. Başlıkları al- tında İngilizce olarak yayınlanmıştı. Ancak her iki yazıda sadece Halîmî Efendi’nin seyahat notları üzerinde durulmuş, devrin siyasi durumu, Abdülaziz devrinin genel özellikleri ve politikası üzerinde ayrıntılara değinilmemişti. Bu konular de- taylı bir biçimde bu yazımızda ele alınmaya çalışıldı.
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Doç.Dr.,NecmettinErbakanÜniversitesiSosyal veBeşeriBilimlerFakültesiTarihBölümüBaşkanı.ngok46@yahoo.com.tr
THE PURSUIT OF HISTORY
‐INTERNATIONAL PERIODICAL FOR HISTORY AND SOCIAL RESEARCH‐
Year: 2012, Issue: 7 Page: 165‐188
1 6 6 • T H E P U R S U I T O F H I S T O R Y I N T E R N A T I O N A L P E R I O D I C A L F O R H I S T O R Y a n d S O C IA L R E S E A R C H • 4 / 7
THE EUROPE TRIP OF SULTAN ABDÜLAZIZ IN THE WORKS OF TRANSLATOR HALÎMÎ EFENDI (From June 21, 1867 to August 7, 1867)
Abstract
Sultan Abdülaziz was the first Ottoman Sultan who formally visit Europe ‐not leading the army‐ and for the sole purpose of travel and to set up bilateral relations. The balance of power has shifted around in Euro‐ pe following the ten years process after Crimean War. Serbian and Crete uprisings had become a substan‐ tial threat. Ali Pasha Government felt obliged to receive support from France and England as the former Reşid Pasha also did. Therefore, “General Fair” which was to be opened in Paris by Napoleon III was a crucial opportunity.
The trip which began with pompous celebrations after the Friday noon prayer at the Grand Imperial Mosque lasted 46 days (From June 21, 1867 till August 7, 1867). The royal ensemble travelled through Dardanelles, Messina and arrived at Tulan, and travelled to Marseilles by train accompanied by cheering crowds. They were welcomed by Emperor Napoleon III on June 30th, at the Paris Train Station. The en‐ semble stayed in Paris for ten days. Afterwards, The Sultan crossed the English Channel and arrived at British soil at Port of Dover. Queen Victoria presented him with The Order of The Garter. Sultan Abdüla‐ ziz set off to Belgium on July 23rd, 1867 and travelled to Vienna where he met with the Prussian King. The Sultan travelled to Varna via Vidin and Ruse. He returned to Istanbul on August 7th, 1867 on naval ship Sultaniye.
Overall, Sultan Abdülaziz’s Europe trip appeared to be a rather pompous and shiny one. The Sultan and the ensemble appeared at the top news and caught the eyes of the people all over. However expected political goals were not achieved as a result of colonial ambitions of England and shifting political powers in Europe.
Key Words
Sultan Abdul Aziz, The European Travelogue, Halimi Efendi, Napoleon III, Queen Victoria.

Au rez-de-chaussée du palais de Buckingham, ouvrant largement sur les jardins, se trouve encore de nos jours un vaste salon de réception qui ne manquera pas d’interpeller d’éventuels visiteurs français. En effet, ici au cœur emblématique de la monarchie britannique, la « 1855 Room » présente de part et d’autre de sa cheminée, encastrés dans le mur, deux grands portraits en pied de l’empereur Napoléon III et de l’impératrice Eugénie d’après Franz Xaver Winterhalter .
Ce parti décoratif étonnant, qui a survécu aux vicissitudes de l’histoire, a été voulu en son temps par la reine Victoria pour célébrer ce qu’il est bien convenu d’appeler la visite triomphale du couple impérial en Angleterre entre les 16 et 22 avril 1855. Dans une surenchère enthousiaste caractéristique, le très anglophile Napoléon III va ainsi très vite envisager une visite retour de Victoria en terre française dès l’été 1855, qu’il voudra bien entendu d’un faste inégalé. Premières demeures du pays, l’ensemble des résidences impériales s’en retrouvent ainsi mobilisées afin d’accueillir la reine et sa suite lors d’un somptueux périple prévu pour durer à l’origine près de deux semaines. Le château de Fontainebleau, sans doute considéré par son envergure historique comme le parfait homologue de Windsor, est naturellement tout désigné pour recevoir avec tous les honneurs les célèbres hôtes royaux.

This publication deals with the metamorphoses of the Brisbane Victoria Bridge. It includes an Appendix Palladiana where the ideological "matrix" of the Palladian Manifesto Villa "La Rotunda" is said to be the "Tetraktys" (the upper numbers/part of the Pythagorean Lambda). Furthermore the root two rectangle, Serlio's "proportione diagonea", is also said to be at the basis of the Villa's proportionality patterns (see Appendix Palladiana - with figures - Palladian proportionality patterns), "along all axes" (Morgan, 1960), making the masterpiece "triaxially symmetrical", with a section a la "doron" (see Vitruvius and March, 1998), which, according to the author, has given origin to the famous name of the Golden Section (in Italian: Sezione D'Oro - originally allegedly called a "Sezione 'Doron' ").

Despite reigning for sixty-four years, Queen Victoria’s renown for famous sayings is surprisingly meagre. Even her famous comeback – ‘We are not amused’ – is likely to be a myth, relying entirely on Caroline Holland’s nonchalant and ambiguous allusion to it in her private diary entry of 2nd January 1900. This paper maps out post-Victorian uses and abuses of this simple saying. It acts as a case study of how humour was used in depicting this saying to comment on Victorian attitudes to class, gender, age, and humour itself (or a lack of it).

‘We are not amused’, naturally goads us to question what had initially been intended as amusing? And whom does the ‘we’ imply? Such questions were no less pressing when Holland’s diary was published posthumously in 1919, form which Queen Victoria’s saying quickly appealed to a general public already stirred by Lytton Strachey’s Eminent Victorians (1918). Early twentieth-century interest in the saying capitalised on the lack of factual documental evidence to good comical effect. A range of scenarios quickly appeared in print and on stage to illustrate why Queen Victoria was not amused and who the ‘we’ were. These include the monarch’s reaction to risqué jokes, impersonations of herself, and her dislike for Gladstone or Gilbert & Sullivan’s H.M.S. Pinafore. Amusement has continued to be derived from Queen Victoria’s saying in more modern times. Examples from Monty Python, Doctor Who, Futurama and Stephen King novels will illustrate how its use has increasingly become divorced from portraying any ‘factual’ and historical context, preferring instead to adopt clearly fictitious but comical representations; so much so that today ‘We are not amused’ is used far beyond the British Isles and frequently as if a famous line taken from a movie or to express ‘attitude’. This invites us to question whether the legacy of portraying history or a historical person in a humourous way relies more on the immediacy of maintaining the joke and punchline far more than maintaining historical accuracy and context?

This essay explore the figure of the Amazon warrior woman in nineteenth-century literature. African and English women, including Queen Victoria, are both represented as “Amazons.” Colonizers are represented as Amazons, as are the colonized. According to the Victorian writers and artists surveyed here, the figure of the Amazon also transgresses distinctions between traditional male and female roles. She is a woman and yet also a soldier. Representations of the Amazon do not consistently or strictly adhere to the ways in which colonial ideology divided up the world into the powerful (white men) and the powerless (everyone else). The Amazon is a mobile archetype that appears, at times, to challenge the fixity of those boundaries. Some representations of the Amazon appear to endorse colonialism by showing, for example, that African Amazons need saving from their incivility. Representations of her extraordinary powers (martial and sexual) appear to offer an implicit critique of the assumptions about gender and race that underwrite colonial ideology. To modern critics, at least, these representations reveal some limits of colonial ideology within a body of colonial literature and art that otherwise seems to support colonialism.

During the middle nineteenth century, jet obtained from Whitby (England) was sought after due to its dark black color and hardness. This fossilized plant material was used in mourning jewelry, and Whitby hard jet was regarded among the best for carving and bead making. Jet fashion was connected with Queen Victoria, whose long mourning period lasted for almost forty years.

Резюме. Статията е посветена на темата за сведенията, които съдържат дневниците на британската кралица Виктория за Кримската война (1853-1856). Дневниците на кралицата са ценен източник на информация за този етап от развитието на Източния въпрос. Чрез тях може да се представи една важна гледна точка за конфликта между Запада и Русия.

The article explores the evolution of the discourse of taste during the XVIII and XIX centuries, adopting the categories of pure and impure as paradigmatic keys to the subject. Reyn-olds' standards of aesthetic judgement, and the voices of Hogarth and Richard Payne Knight, mark the drive towards taste as subjective response. Thus young Marianne Dashwood can judge whether Edward Ferrars' taste is pure or impure. Taste, despite Hazlitt's warnings, becomes synonymous with fashion, and fashion is an impure element, conditioned by new technologies, allowing the manufacture of endless replicas from original art works. The Great Exhibition is the pivotal event that consecrates the productions of industry, commerce and art. Such triangulation thrives on the scientific progress of chemistry, which presides over the offer of new materials, colours, printing techniques, Parian marble, electroplated metal, allowing all kinds of cheap imitations. John Ruskin comments upon the triumphant progress of chemistry: and often uses analogies or metaphors taken from this science in order to explain the obscure processes of the artist's associative imagination. Purity of taste – or its impure connections with chemical works and their products – are discussed by Ruskin. But the paradigm pure/impure is also relevant to the work of Victorian art critics. Walter Pater and Vernon Lee recur to chemistry in order to explain the mysteries of the subjective response to art. Writers follow, such as Collins and Stevenson, who weld the strange mixture of pure and impure elements in human nature to chemistry, and thus place on the epistemic horizon of this science the fundamental questions of their age.

In this article I analyse a selection of Alan Moore’s characters and their vicious behaviour in three graphic novels that belong to the period when, according to Roger Luckhurst, a ‘contemporary trauma culture’ began to develop (2008: 2). I first centre on the representation of violence as a by-product of traumatic past events. Violence is thus seen as the result of a pathological personality that is developed after some traumatic experience that continues to flood the individual’s mind in haunting memories and anxieties. Violent protagonists like Rorschach in Watchmen, Sir William Gull in From Hell, or V in V for Vendetta, can be analysed with support from trauma theorists such as Cathy Caruth or Dominick LaCapra.
The character of V will also prove helpful in identifying a second category of violence in Alan Moore’s fictions, that of terrorism. V is placed in-between the traumatized victim and the terrorist perpetrator, thus questioning clear-cut Manichean juxtapositions of good and evil. This second category of characters can be considered terrorists as they employ violence with political purposes, either to maintain the status quo by oppression and aggression, or to transform the political situation of the world by means of mass-scale assassination. In this group I will describe the ‘institutional terrorism’ of political leaders (Queen Victoria, Adam Susan). On the other hand, ‘subversive terrorism’ (1994: 6) is represented by Adrian Veidt in Watchmen, a character who becomes a mass-scale terrorist when he kills half of the population of New York in order to save the world from the escalating tension of the Cold War.
A third type of terrorist violence is described in the final part of this article. Social structures of patriarchal violence impose their values by means of a type of terrorism that is exerted at a microsocial level. For this part of the analysis I will draw on the idea of ‘microsocial terrorism’, understood as that sort of terrorism that takes place on a domestic level, inside the microsociety of the family, where women and children become terrorised by abusive patriarchal structures. This kind of terrorism finds examples through the analysis of the double standard of morality in From Hell; the slackness of the community confronted with the massacre of women like Kitty Genovese in Watchmen; and the domestic violence depicted in V for Vendetta.

A partir das vivências do casal real D. Maria II de Bragança e D. Fernando de Saxe-Coburgo-Gotha, abordam-se as sociabilidades dinásticas europeias de meados de Oitocentos, envolvendo as famílias reinantes de Inglaterra, França, Bélgica, Brasil e Espanha e ducado de Saxe-Coburgo-Gotha.
Família Coburgo. Ferdinand von Sachsen-Coburg-Gotha-Koháry. Famílias reais de Portugal (Bragança), Brasil (Bragança), Inglaterra (Hanover), França (Orleães), Áustria (Habsburgo), Bélgica (Coburgo), Espanha (Bourbon)

A fresh and intimate portrait of Queen Victoria 'at the play'. Through Victoria's diary, artwork and correspondence, we see her as enraptured spectator, bountiful patron and tyrannical director of private theatricals. At times, she appears formidable. More frequently she is impudent, high-spirited and unruly; a woman who delights in gory melodramas and circus acts. 'Queen Victoria and the Theatre of Her Age' gives readers a deeply personal account of her lifelong devotion to the stage. It will appeal to anyone interested in monarchy's place in popular culture

During the Georgian and Victorian periods, the fourteenth-century hero Edward the Black Prince became an object of cultural fascination and celebration; he and his battles played an important part in a wider reimagining of the British as a martial people, reinforced by an interest in chivalric character and a burgeoning nationalism.

Drawing on a wealth of literature, histories, drama, art and material culture, this book explores the uses of Edward’s image in debates about politics, character, war and empire, assessing the contradictory meanings ascribed to the late Middle Ages by groups ranging from royals to radicals. It makes a special claim for the importance of the fourteenth century in Georgian and Victorian culture as a time of heroic virtues, chivalric escapades, royal power and parliamentary development, adding to a growing literature on Georgian uses of the past by exposing an active royal and popular investment in the medieval. It reveals that the Middle Ages was a contested terrain in Victorian Britain, disputing frequent modern assumptions that the Victorians saw the medieval period as an idealised and unproblematic past.

Table of Contents

Introduction
1. Royal associations: heroic character and chivalric ceremony at the court of George III
2. Prince George reclaims the heroic? Transition, ambition and domesticity
3. Chivalry and politics in Victoria's early reign: art, exhibitions and palace renditions
4. Politics, parliament and the people's prince
5. Emulating Edward? Redefining chivalry and character
6. Warrior for nation and empire
Conclusion

This article explores the ambivalent re-imagination of Queen Victoria in Jean-Marc Vallée's The Young Victoria (2009). Due to the almost obsessive current interest in Victorian sexuality and gender roles that still seem to frame contemporary debates, this article interrogates the ambiguous depiction of gender relations in this most recent portrayal of Victoria, especially as constructed through the visual imagery of actual artworks incorporated into the film. In its self-conscious (mis)representation of Victorian (royal) history, this essay argues, The Young Victoria addresses the problems and implications of discussing the film as a royal biopic within the generic conventions of heritage cinema.

Queen Victoria: This Thorny Crown. By Michael Ledger-Lomas. (Oxford: Oxford University Press, 2021, Pp. 347. $40.00);
Margaret Mead: A Twentieth-Century Faith. By Elesha J.
Coffman. Oxford: oxford University Press, 2021, 218. Pp. 45.00.)

This article explores the ambivalent re-imagination of Queen Victoria in Jean-Marc Vallée's The Young Victoria (2009). Due to the almost obsessive current interest in Victorian sexuality and gender roles that still seem to frame contemporary debates, this article interrogates the ambiguous depiction of gender relations in this most recent portrayal of Victoria, especially as constructed through the visual imagery of actual artworks incorporated into the film. In its self-conscious (mis)representation of Victorian (royal) history, this essay argues, The Young Victoria addresses the problems and implications of discussing the film as a royal biopic within the generic conventions of heritage cinema.

Despite reigning for sixty-four years, Queen Victoria’s renown for famous sayings is surprisingly meagre. Even her famous comeback – ‘We are not amused’ – is likely to be a myth, relying entirely on Caroline Holland’s nonchalant and ambiguous allusion to it in her private diary entry of 2nd January 1900. This article maps out post-Victorian uses and abuses of this simple saying. It acts as a case study of how humour was used in depicting this saying to comment on Victorian attitudes to class, gender, age, and humour itself (or a lack of it). ‘We are not amused’, naturally goads us to question what had initially been intended as amusing? And whom does the ‘we’ imply? Such questions were no less pressing when Holland’s diary was published posthumously in 1919, form which Queen Victoria’s saying quickly appealed to a general public already stirred by Lytton Strachey’s Eminent Victorians (1918). Early twentieth-century interest in the saying capitalised on the lack of factual documental...

Stórbrotið, töfrandi og átakamikið líf kóngafólks er vinsælt efni í sjónvarpi og kvikmyndum. Sem dæmi má nefna þættina The Crown sem Netflix framleiðir og hafa slegið í gegn svo um munar, en þeir fjalla um fyrstu áratugi Elísabetar II í embætti Bretlandsdrottningar. Líf drottninga frá ýmsum tímabilum Bretlandssögunnar, hvort sem þær eru lífs eða liðnar, virðist heilla áhorfendur svo mjög að því sem næst endalaus markaður virðist vera fyrir framleiðslu sjónvarpsþátta og kvikmynda um þetta efni. Að auki hafa á netinu sprottið upp heilu aðdáendaklúbbarnir sem virðast taka hlutverk sitt mjög alvarlega og berjast með kjafti og klóm fyrir málstað drottninga sem létust fyrir jafnvel hundruðum ára.
Hér verður farið um víðan völl og fjallað um merkar breskar drottningar frá mismunandi tímaskeiðum og hvernig ævi þeirra, persónuleika og áhrifum í samfélagi og sögu er miðlað í sjónvarpi og kvikmyndum á tuttugustu og fyrstu öldinni. Leitast er við að greina áhrif þeirra á dægurmenningu í tengslum við aðdáendaklúbba internetsins og samfélagsmiðlanna. Sérstök áhersla er lögð á umfjöllun um Elísabetu fyrstu, móður hennar Önnu Boleyn og Maríu Stúart Skotadrottningu, en kvikmyndir og þættir um Viktoríu og Elísabetu II verða einnig til umfjöllunar að einhverju leiti.