Victoria and Abdul
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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 Study of the Floral Biology of Viciaria Amazonica (Poepp.) Sowerby (Nymphaeaceae)
A study of the Floral Biology of Viciaria amazonica (Poepp.) Sowerby (Nymphaeaceae) Ghillean T. Prance (1) Jorge R. Arias (2) Abstract Victoria and the beetles which visit the flowers in large numbers, and to collect data A field study of the floral biology of Victoria on V. amazonica to compare with the data of amazonica (Poepp.) Sowerby (Nymphaeaceae) was Valia & Girino (1972) on V. cruziana. made for comparison with the many studies made in cultivated plants, of Victoria in the past. In thE: study areas in the vicinity of Manaus, four species HISTORY OF WORK ON THE FLORAL of Dynastid beetles were found in flowers of V. BIOLOGY OF VICTORIA. amazonica, three of the genus Cyclocephala and one o! Ligyrus . The commonest species of beetle The nomenclatura( and taxonomic history proved to be a new species of Cyclocephala and was found in over 90 percent of the flowers studied. of the genus has already been summarized in The flowers of V. amazonica attract beetles by Prance (1974). where it has been shown that their odour and their white colour on the first the correct name for the Amazonian species day that they open. The beetles are trapped in the of Victoria is V. amazonica, and not the more flower for twenty-four hours and feed on the starchy carpellary appendages. Observations were frequently used name, V. regia. The taxonomic made of flower temperature, which is elevated up history is not treated further here. to 11 aC above ambient temperature, when the flower Victoria amazonica has been a subject of emits the odour to attract the beetles. -
Victoria, Koningin
Victoria, koningin Julia Baird ictoria Vkoningin Een intieme biografie van de vrouw die een wereldrijk regeerde Nieuw Amsterdam Vertaling Chiel van Soelen en Pieter van der Veen Oorspronkelijke titel Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire. Penguin Random House LLC, New York © 2016 Julia Baird Kaarten en stamboom © 2016 David Lindroth, Inc. © 2017 Nederlandse vertaling: Chiel van Soelen en Pieter van der Veen/ Nieuw Amsterdam Voor de herkomst van het beeldmateriaal, zie de illustratieverantwoording vanaf blz. 753 Alle rechten voorbehouden Tekstredactie Marianne Tieleman Register Ansfried Scheifes Omslagontwerp Bureau Beck Omslagbeeld: Franz Xaver Winterhalter, Victoria (1842, detail)/Bridgeman Images. Auteursportret Alex Ellinghausen nur 681 isbn 978 90 468 2179 4 www.nieuwamsterdam.nl Voor Poppy en Sam, mijn betoverende kinderen [Koningin Victoria] behoorde tot geen enkele denkbare categorie van vorsten of vrouwen, zij vertoonde geen gelijkenis met een aristocratische Engelse dame, niet met een rijke Engelse middenklassevrouw, noch met een typische prinses van een Duits hof (...). Ze regeerde langer dan de andere drie koninginnen samen. Tijdens haar leven kon ze nooit worden verward met iemand anders, en dat zal ook in de geschiedenis zo zijn. Uit- drukkingen als ‘mensen zoals koningin Victoria’ of ‘dat soort vrouw’ konden voor haar niet worden gebruikt (...). Meer dan zestig jaar lang was ze gewoon ‘de konin- gin’, zonder voor- of achtervoegsel.1 Arthur PONSONBY We kijken allemaal of we al tekenen van -
ABSTRACT Title of Dissertation: ROYAL SUBJECTS
ABSTRACT Title of dissertation: ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860- 1901 Charles Vincent Reed, Doctor of Philosophy, 2010 Dissertation directed by: Professor Richard Price Department of History ABSTRACT: The dissertation explores the development of global identities in the nineteenth-century British Empire through one particular device of colonial rule – the royal tour. Colonial officials and administrators sought to encourage loyalty and obedience on part of Queen Victoria’s subjects around the world through imperial spectacle and personal interaction with the queen’s children and grandchildren. The royal tour, I argue, created cultural spaces that both settlers of European descent and colonial people of color used to claim the rights and responsibilities of imperial citizenship. The dissertation, then, examines how the royal tours were imagined and used by different historical actors in Britain, southern Africa, New Zealand, and South Asia. My work builds on a growing historical literature about “imperial networks” and the cultures of empire. In particular, it aims to understand the British world as a complex field of cultural encounters, exchanges, and borrowings rather than a collection of unitary paths between Great Britain and its colonies. ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860-1901 by Charles Vincent Reed Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2010 Advisory Committee: Professor Richard Price, Chair Professor Paul Landau Professor Dane Kennedy Professor Julie Greene Professor Ralph Bauer © Copyright by Charles Vincent Reed 2010 DEDICATION To Jude ii ACKNOWLEGEMENTS Writing a dissertation is both a profoundly collective project and an intensely individual one. -
Job Description
The Royal Household JOB DESCRIPTION JOB TITLE: Administrator, Picture Conservation Studio DEPARTMENT: Royal Collection Trust SECTION/BRANCH: Paintings Conservation LOCATION: Windsor Castle REPORTING TO: Registrar (Pictures) and Conservation Studio Co-ordinator Job Context Royal Collection Trust is a department of the Royal Household and the only one that undertakes its activities without recourse to public funds. It incorporates a charity regulated by the Charity Commission and the Office of the Scottish Charity Regulator, The Royal Collection Trust, and its subsidiary trading company, Royal Collection Enterprises Limited. Royal Collection Trust is charged with the care and preservation of the Royal Collection and its presentation to the public. The Royal Collection is one of the largest and most important art collections in the world. It comprises almost all aspects of the fine and decorative arts, runs to more than a million objects and is spread among some thirteen royal residences and former residences across the UK. At The Queen’s Galleries in London and Edinburgh, aspects of the Collection are displayed in a programme of temporary exhibitions. Many works from the Collection are on long-term loan to institutions throughout the UK and short-term loans are regularly made to exhibitions around the world as part of a commitment to broaden public access and to show parts of the Collection in new contexts. The works of art in the Royal Collection are held by The Queen in trust for her successors and the nation. Royal Collection Trust is responsible for the management and financial administration of the public opening of Buckingham Palace (including The Queen’s Gallery, the Royal Mews and Clarence House), Windsor Castle (including Frogmore House) and the Palace of Holyroodhouse (including The Queen’s Gallery). -
JEWELS of the EDWARDIANS by Elise B
JEWELS OF THE EDWARDIANS By Elise B. Misiorowski and Nancy K. Hays Although the reign of King Edward VII of ver the last decade, interest in antique and period jew- Great Britain was relatively short (1902- elry has grown dramatically. Not only have auction 1910), the age that bears his name produced 0 houses seen a tremendous surge in both volume of goods distinctive jewelry and ushered in several sold and prices paid, but antique dealers and jewelry retail- new designs and manufacturing techniques. ers alikereportthat sales inthis area of the industry are During this period, women from the upper- excellent and should continue to be strong (Harlaess et al., most echelons of society wore a profusion of 1992). As a result, it has become even more important for extravagant jewelry as a way of demon- strating their wealth and rank. The almost- jewelers and independent appraisers to understand-and exclusive use of platinum, the greater use of know how to differentiate between-the many styles of pearls, and the sleady supply of South period jewelry on the market. African diamonds created a combination Although a number of excellent books have been writ- that will forever characterize Edwardian ten recently on various aspects of period jewelry, there are jewels. The Edwardian age, truly the last so many that the search for information is daunting. The era of the ruling classes, ended dramatically purpose of this article is to provide an overview of one type with the onset of World War I. of period jewelry, that of the Edwardian era, an age of pros- perity for the power elite at the turn of the 19th century. -
Victoria & Abdul
Victoria & Abdul For those Anglophiles who want another immersion in the warm, luxurious stew of the British monarchy, look no further for your latest fix than “Victoria and Abdul,” an engaging if utterly predictable dip into late Victorianism by a whole passel of old British pros, plus an attractive newcomer. All you need to know is that Dame Judi Dench rules this film as Queen Victoria, way late in her reign, alienated from her son (the future Edward VII), sour as vinegar from her unending rule, and looking for some—any—breath of the novel and the fresh. As she herself admits when challenged in the film: ”I am cantankerous, greedy, fat; I am perhaps, disagreeably, attached to power.” Her relief comes in the form of one Abdul Karim, a young, literate Indian Muslim (Ali Fazal) who is selected to come to London from Agra in 1887 to deliver a special commemorative coin to Her Majesty on the occasion of her Golden Jubilee. Abdul is supposed to be invisible to the Queen, but instead he catches her eye, then her mood, and finally, her spirit to the point where he becomes her teacher, or “munshi,” in all things Muslim and Indian as well as serving as her clerk. Theirs is a relationship which appalls her family—including the Prince of Wales (a bombastic Eddie Izzard)— and the court—especially in the person of Sir Henry Ponsonby (the uptight Tim Pigott- Smith) but which lasted until the Queen’s death in 1901. Sound familiar? Of course, we are in the same realm as the earlier “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. -
Introduction
Notes Introduction 1. 'Elizabeth R·. BBC (1992). 2. D. Cannadine. 'The Context. Perfonnance and Meaning of Ritual: The British Monarchy and the "Invention of Tradition". c. 1820-1977'. in The Inven tion of Tradition. E. Hobsbawm and T. Ranger (eds) (Cambridge. 1983) 101-64. Also see his 'Introduction: divine rights of kings'. in Rituals of Royalty. Cannadine and S. Price (eds) (Cambridge. 1987) 1-19. 3. 'Tradition. Continuity. Stability. Soap Opera'. The Economist. 22 Oct. 1994. 32. 4. E. Hobsbawm. 'Mass Producing Traditions: Europe. 1870-1914'. Invention of Tradition. 263-307. 5. Ibid .• 282. 6. 'The Not So Ancient Traditions of Monarchy'. New Society. 2 Jun. 1977. 438. This was a preliminary version of the essay that appeared in the Hobsbawm collection. 7. 'British Monarchy and the "Invention of Tradition"'. Invention of Tradition. 122. 8. Ibid .• 124. 9. Cannadine quoting Lady Longford. ibid .• 141. 10. Ibid .• 161. 11. D. Cannadine. The Pleasures of the Past (London. 1989) 30. 12. Ibid. 13. Ibid .• 259. 14. L. Colley. Britons, Forging the Nation 1707-1837 (New Haven and Lon don. 1992) ch. 5; idem. 'The Apotheosis of George ill: Loyalty. Royalty and the British Nation 1760-1820'. Past and Present. no. 102 (Feb. 1984) 94-129. See also M. A. Morris. 'Monarchy as an Issue in English Political Argument during the French Revolutionary Era'. PhD thesis. University of London. 1988. esp. ch. 7. 'Royalist Ritual and the Support of the State'. 15. L. Colley. 'Whose Nation? Class and National Consciousness in Britain 1750-1830'. Past and Present. no. 113 (November 1986) 117. 16. -
Osborne Teachers' Resource Pack (KS2-KS3)
KS2–KS3 TEACHERS’ RESOURCE PACK Osborne This resource pack will help teachers plan a visit to Osborne, which offers unrivalled insight into the private lives of Queen Victoria and Prince Albert and the empire over which they ruled. Use this pack in the classroom to help students get the most out of their learning about Osborne. INCLUDED • Historical Information • Glossary • Sources • Site Plan Get in touch with our Education Booking Team 0370 333 0606 [email protected] https://bookings.english-heritage.org.uk/education Don’t forget to download our Hazard Information Sheets and Discovery Visit Risk Assessments to help with planning: • The Adventures of a Victorian Explorer (KS2) • Waiting on Hand and Foot (KS2) • Story Mat (KS1) Share your visit with us on Twitter @EHEducation The English Heritage Trust is a charity, no. 1140351, and a company, no. 07447221, registered in England. All images are copyright of English Heritage or Historic England unless otherwise stated. Published January 2018 HISTORICAL INFORMATION DISCOVER THE STORY OF Below is a short history of Osborne. Use this OSBORNE information to learn how the site has changed over time. You will find definitions of the key words in the Glossary. AN EXCELLENT HOME In October 1843, Queen Victoria and Prince Albert were looking for a new country home for their ever-growing family. The royal couple visited the Osborne estate in 1844 and Victoria was delighted with how private it was: ‘…we can walk anywhere without being mobbed or followed.’ Best of all, it had Osborne House was built of brick its own beach where they could come and with a smooth cement layer on top to make the house look as if go by boat without being seen. -
Susanna Avery-Quash
Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘Incessant personal exertions and comprehensive artistic knowledge’: Prince Albert’s interest in early Italian art Susanna Avery-Quash When an honoured guest visited Osborne House on the Isle of Wight he may have found himself invited by Prince Albert (fig. 1) into his private Dressing and Writing Room. This was Albert’s inner sanctum, a small room barely 17ft square, tucked away on the first floor of the north-west corner of the original square wing known as the Pavilion. Had the visitor seen this room after the Prince’s rearrangement of it in 1847, what a strange but marvellous sight would have greeted his eyes! Quite out of keeping with the taste of every previous English monarch, Albert had adorned this room with some two dozen small, refined early Italian paintings,1 whose bright colours, gilding and stucco ornamentation would have glinted splendidly in the sharp light coming from the Solent and contrasted elegantly with the mahogany furniture.