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Chapter Iv Findings and Discussion
CHAPTER IV FINDINGS AND DISCUSSION The present chapter deals with the result of the research which is divided into two parts namely findings and discussion. In the first part, the researcher reveals the examined data from The Duchess and The Young Victoria movies. It shows the data of negative politeness strategies implemented in those movies and the factors affecting the use of negative politeness strategies employed by main characters in those British movies. In the discussion part, the researcher explores the detailed explanation related to the formulation problems which have been explained in Chapter I. A. Research Findings According to the process of collecting and analysing the data, there are 42 data of negative politeness strategies implemented by the main characters in The Duchess and The Young Victoria movies. The findings are presented in Table 4 and Table 5. 52 TABLE 4. FINDINGS ON NEGATIVE POLITENESS IN THE DUCHESS MOVIE Realizations of Negative Factors Politeness Strategies Circumstances Negative Politeness No Strategies tance H’s Frequency Payoff Be Direct Be Percentage (%) Don’t Coerce Don’t Presume Percentage (%) to H on not impinge Social Dis Relative Power Percentage (%) Percentage Redress other wants ofRedress Communicate S’s want CommunicateS’s want Rankof Imposition Be conventionally 1 2 10 % 1 0 1 0 0 1 7,69% 0 0 1 10 % indirect 2 Question, Hedge 8 40 % 0 5 3 0 0 8 61,54% 1 0 0 10 % 3 Be Pessimistic 1 5 % 0 0 1 0 0 0 0 % 0 1 0 10 % Minimize the 4 3 15 % 0 0 3 0 0 2 15,38% 0 0 1 10 % imposition 5 Give deference 1 5 % 0 0 0 0 1 0 0 % 0 0 1 10 % 6 Apologize 1 5 % 0 0 0 1 0 1 7,69% 0 1 0 10 % Impersonalize speaker 7 1 5 % 0 0 0 1 0 0 0 % 0 0 1 10 % and hearer State the FTA as 8 1 5 % 0 0 0 1 0 0 0 % 0 1 0 10 % general rule 9 Nominalize 1 5 % 0 0 0 1 0 1 7,69 % 1 0 0 10 % Go on record as 10 1 5 % 0 0 0 0 1 0 0 % 0 0 1 10 % incurring debt Total 20 100% 1 5 8 4 2 13 100 % 2 3 5 100% Table 4 presents the data related to negative politeness strategies, realizations and factors affecting the main character in The Duchess movie. -
Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
Victoria: the Irg L Who Would Become Queen Lindsay R
Volume 18 Article 7 May 2019 Victoria: The irG l Who Would Become Queen Lindsay R. Richwine Gettysburg College Class of 2021 Follow this and additional works at: https://cupola.gettysburg.edu/ghj Part of the History Commons Share feedback about the accessibility of this item. Richwine, Lindsay R. (2019) "Victoria: The irlG Who Would Become Queen," The Gettysburg Historical Journal: Vol. 18 , Article 7. Available at: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Victoria: The irG l Who Would Become Queen Abstract This research reviews the early life of Queen Victoria and through analysis of her sequestered childhood and lack of parental figures explains her reliance later in life on mentors and advisors. Additionally, the research reviews previous biographical portrayals of the Queen and refutes the claim that she was merely a receptacle for the ideas of the men around her while still acknowledging and explaining her dependence on these advisors. Keywords Queen Victoria, England, British History, Monarchy, Early Life, Women's History This article is available in The Gettysburg Historical Journal: https://cupola.gettysburg.edu/ghj/vol18/iss1/7 Victoria: The Girl Who Would Become Queen By Lindsay Richwine “I am very young and perhaps in many, though not in all things, inexperienced, but I am sure that very few have more real good-will and more real desire to do what is fit and right than I have.”1 –Queen Victoria, 1837 Queen Victoria was arguably the most influential person of the 19th century. -
Visualising Victoria: Gender, Genre and History in the Young Victoria (2009)
Visualising Victoria: Gender, Genre and History in The Young Victoria (2009) Julia Kinzler (Friedrich-Alexander-University Erlangen-Nuremberg, Germany) Abstract 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. Keywords: biopic, film, gender, genre, iconography, neo-Victorianism, Queen Victoria, royalty, Jean-Marc Vallée. ***** In her influential monograph Victoriana, Cora Kaplan describes the huge popularity of neo-Victorian texts and the “fascination with things Victorian” as a “British postwar vogue which shows no signs of exhaustion” (Kaplan 2007: 2). Yet, from this “rich afterlife of Victorianism” cinematic representations of the eponymous monarch are strangely absent (Johnston and Waters 2008: 8). The recovery of Queen Victoria on film in John Madden’s visualisation of the delicate John-Brown-episode in the Queen’s later life in Mrs Brown (1997) coincided with the academic revival of interest in the monarch reflected by Margaret Homans and Adrienne Munich in Remaking Queen Victoria (1997). Academia and the film industry brought the Queen back to “the centre of Victorian cultures around the globe”, where Homans and Munich believe “she always was” (Homans and Munich 1997: 1). -
A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays. -
Genevieve O'reilly
Genevieve O'Reilly Agents Dallas Smith Associate Agent Sarah Roberts [email protected] +44 (0) 20 3214 0800 Assistant Alexandra Rae [email protected] +44 (0) 20 3214 0800 Sophie Austin Assistant [email protected] Emma Collier [email protected] Roles Film Production Character Director Company THE DRY Gretchen Robert Connolly Pacific Standard TOLKIEN Mrs Smith Dome Karukoski Fox Searchlight Pictures THE SNOWMAN Birte Becker Tomas Alfredson Drapsmann Films ROGUE ONE: A STAR WARS Mon Mothma Gareth Edwards Lucasfilms STORY THE LEGEND OF TARZAN Tarzan's Mother David Yates Dark Horse Entertainment FORGET ME NOT Eve Lance Roehrig and Quicksilver Films Alex Holt United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company SURVIVOR Lisa James McTeigue Nu Image / Millennium Films THE YOUNG VICTORIA Lady Flora Jean-Marc Vallée JK Films Hastings RIGHT HERE, RIGHT NOW Matthew Newton STAR WARS EPISODE III Mon Mothma George Lucas Jak Australia THE MATRIX REVOLUNTIONS Officer Wirtz Andy and Larry The Burly Man Wachowski Productions THE MATRIX RELOADED Officer Wirtz Andy and Larry The Burly Man Wachowski Productions AVATAR Dash Jian Hong Kuo Exile Productions Television Production Character Director Company TIN STAR S.1, S.2 & S.3 Angela Worth Various Kudos for Amazon THE FALL - S3 Joan Kinkhead Various BBC THE SECRET Hazel Nick Murphy Hat Trick/ ITV ENDEAVOUR Annette Bryn Higgins ITV Richardson GLITCH Elishia -
Outliers – Stories from the Edge of History Faithfully Yours, Louise Lezhen
Outliers – Stories from the edge of history is produced for audio and specifically designed to be heard. Transcripts are created using human transcription as well as speech recognition software, which means there may be some errors. Outliers – Stories from the edge of history Season Two, Episode Five Faithfully yours, Louise Lezhen By Lettie Precious Louise Lezhen: Clink clank, clink clank, clearing throats, halting conversations. Silverware making more chatter with the dinner ware. Clink clank, clickity clank. Throats clearing, halting conversations full of ‘So’ clink ‘Well’ clank Mmmhh clink. Heavy sighs, polite questions, polite answers, stretches of silence, quiet. Quiet where pin drops can be heard. It is in those times, I say nothing, my voice, no longer holding the power it once had, but missing it greatly. There’s a new chill in the air, a new cold snaking its way up and down the corridors of Kensington Palace, making its presence felt for a while now. Things have changed…different now, even the birds are nervous in their songs. The sun peeks through the windows with great caution, even I, once governess to the princess walk the floors of this Palace differently, cautiously…. After years and years, holding Victoria’s hand, her little hand fitting so perfectly in mine; her little feet following so gracefully behind my footprints. Oh, the privilege I had, a power that once roared in me, no one could tell me anything. She was mine to keep, to teach, to protect…. (sigh) But things are different now, even the walls seem to protest, drawing closer together each day, encouraging the ceilings to drop too, a force that threatens to crush me at any given moment. -
Downloaded from Manchesterhive.Com at 10/02/2021 09:03:16PM Via Free Access Andrew Higson
1 5 From political power to the power of the image: contemporary ‘British’ cinema and the nation’s monarchs Andrew Higson INTRODUCTION: THE HERITAGE OF MONARCHY AND THE ROYALS ON FILM From Kenneth Branagh’s Henry V Shakespeare adaptation in 1989 to the story of the fi nal years of the former Princess of Wales, inDiana in 2013, at least twenty-six English-language feature fi lms dealt in some way with the British monarchy. 1 All of these fi lms (the dates and directors of which will be indi- cated below) retell more or less familiar stories about past and present kings and queens, princes and princesses. This is just one indication that the institution of monarchy remains one of the most enduring aspects of the British national heritage: these stories and characters, their iconic settings and their splendid mise-en-scène still play a vital role in the historical and contemporary experience and projection of British national identity and ideas of nationhood. These stories and characters are also of course endlessly recycled in the pre- sent period in other media as well as through the heritage industry. The mon- archy, its history and its present manifestation, is clearly highly marketable, whether in terms of tourism, the trade in royal memorabilia or artefacts, or images of the monarchy – in paintings, prints, fi lms, books, magazines, televi- sion programmes, on the Internet and so on. The public image of the monarchy is not consistent across the period being explored here, however, and it is worth noting that there was a waning of support for the contemporary royal family in the 1990s, not least because of how it was perceived to have treated Diana. -
Mediacide: the Press's Role in the Abdication Crisis of Edward VIII
___________________________________________________________ Mediacide: the Press’s Role in the Abdication Crisis of Edward VIII Joel Grissom ___________________________________________________________ On December 10, 1936, a group of men entered the ornate drawing room of Fort Belvedere, the private get-away of His Majesty, King Edward VIII. The mood of the room was informal as the King sat at his desk. Fifteen documents lay before him ready for his signature. Briefly scanning them, he quickly affixed, Edward, RI, to the documents. He then relinquished his chair to his brother, Albert, Duke of York, who did the same. The process was repeated twice more as Henry, Duke of Gloucester, and George, Duke of Kent, also signed the documents. The King stepped outside and inhaled the fresh morning air.1 To the King it smelled of freedom. After months of battling with his Prime Minister, Stanley Baldwin, and the Prime Minister’s allies in the establishment and the press, Edward was laying down the crown in order to marry the woman he loved, an American divorcee named Wallis Simpson. The next day the newspaper headlines across the world would broadcast the news of the King’s unprecedented decision. With the signing of the Instrument of Abdication, Edward had signed away his throne. The newspapers in both the United States and the United Kingdom that would report the abdication had played a major role in bringing about the fall of the King. While the British media had observed a blackout during most of the crisis, the media in the United States had reported the story of the King and Mrs. -
The Young Victoria Production Notes
THE YOUNG VICTORIA PRODUCTION NOTES GK Films Presents THE YOUNG VICTORIA Emily Blunt Rupert Friend Paul Bettany Miranda Richardson Jim Broadbent Thomas Kretschmann Mark Strong Jesper Christensen Harriet Walter Directed by Jean-Marc Vallée Screenplay By Julian Fellowes Produced by Graham King Martin Scorsese Tim Headington Sarah Ferguson, The Duchess of York 2 SHORT SYNOPSIS The Young Victoria chronicles Queen Victoria's ascension to the throne, focusing on the early turbulent years of her reign and her legendary romance and marriage to Prince Albert. SYNOPSIS 1837. VICTORIA (17) (Emily Blunt) is the object of a royal power struggle. Her uncle, KING WILLIAM (Jim Broadbent), is dying and Victoria is in line for the throne. Everyone is vying to win her favor. However Victoria is kept from the court by her overbearing mother, THE DUCHESS OF KENT (Miranda Richardson), and her ambitious advisor, CONROY (Mark Strong). Victoria hates them both. Her only friend is her doting governess, LEHZEN (Jeanette Hain), who is seemingly as untrustworthy as the rest. Victoria’s handsome cousin, ALBERT (Rupert Friend) is invited to visit by her mother. He's also the nephew of her Uncle, KING LEOPOLD OF BELGIUM (Thomas Kretschmann). It's obvious that Albert has been coached to win her hand. At first she's annoyed as she has no intention of being married. She never wants to be controlled again. However Albert is also tired of being manipulated by his relatives. Victoria and Albert talk openly and sincerely and become friends. When he returns home she grants him permission to write to her. -
The House of Coburg and Queen Victoria: a Study of Duty and Affection
University of Nebraska at Omaha DigitalCommons@UNO Student Work 6-1-1971 The House of Coburg and Queen Victoria: A study of duty and affection Terrence Shellard University of Nebraska at Omaha Follow this and additional works at: https://digitalcommons.unomaha.edu/studentwork Recommended Citation Shellard, Terrence, "The House of Coburg and Queen Victoria: A study of duty and affection" (1971). Student Work. 413. https://digitalcommons.unomaha.edu/studentwork/413 This Thesis is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Student Work by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. THE HOUSE OF COBURG AND QUEEN VICTORIA A STORY OF DUTY AND AFFECTION A Thesis Presented to the Department of History and the Faculty of the Graduate College University of Nebraska at Omaha In Partial Fulfillment of the Requirements for the Degree Master of Arts by Terrance She Ha r d June Ip71 UMI Number: EP73051 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Diss««4afor. R_bJ .stung UMI EP73051 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. -
Victoria Cross Awards Warrants Concerning The
Scientia Militaria, South African Journal of Military Studies, Vol 3 Nr 2, 1973. http://scientiamilitaria.journals.ac.za VICTORIA CROSS AWARDS INTRODUCTION In the military history of both the British Empire and of the Western World, the highest British military decoration, namely the Victoria Cross, has attained con- siderable renown. The Victoria Cross was introduced in terms of the Royal Warrant of 29 January, 1856 and by 1957 a total of 1346 had been awarded, among which were 3 bars as second awards. As far as the award of the V.C. under changing conditions in warfare is concerned, the following has been extracted from an authoritative article: The conditions of warfare changed so considerably in the succeed- ing hundred years that, wehereas in 1856, the saving of a comrade's life under fire or the. capture of a standard, was sufficient to earn a Victoria Cross, during World War II, a much higher degree of self-sacrifice was required, as was shown by the number of Victoria Crosses posthumously awarded. This article largely stems from an inquiry recently addressed to the Military Historical and Archival Services. It was compiled and edited by Cmdt. Jan Ploeger, M.A., M.Ed., D.Phil., Acad. and Capt. F. J. Jacobs, B.A.(Hons.), U.E.D. of the Military Historical and Archival Services, S.A.D.F. Encyclopedia Britannica, (1968), Vol. 15, p. 63. Under the heading The V.C. and D.S.O. (Ed. Sir O'Moore Creagh, V.c., G.C.B., G.C.S.!. and E. M. Humphris), (London), Part I, p.