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What is memory, and where is it stored in the body? Can a room be symbolic of a lifetime?
Memories are like layers of your skin or layers of paint on a canvas. In The Queen of Peace Room, Magie Dominic peels away these layers as she explores her life, that of a Newfoundlander turned New Yorker, an artist and a writer — and frees herself from the memories of her violent past.
On an eight-day retreat with Catholic nuns in a remote location safe from the outside world, she exposes, and captures, fifty years of violent memories and weaves them into a tapestry of unforgettable images. The room she inhabits while there is called The Queen of Peace Room; it becomes, for her, a room of sanctuary. She examines Newfoundland in the 1940s and 1950s and New York in the 1960s; her confrontations with violence, incest, and rape; the devastating loss of friends to AIDS; and the relationship between life and art. These memories she finds stored alongside memories of nature’s images of trees pulling themselves up from their roots and fleeing the forest; storms and ley lines, and skies bursting with star-like eyes.
In The Queen of Peace Room, from a very personal perspective, Magie Dominic explores violence against women in the second half of the twentieth century, and in doing so unearths the memory of a generation. In eight days, she captures half a century.
The Innocent Deceits of Lucy Holcombe Pickens
"Submissiveness is not my role, but certain platitudes on certain occasions are among the innocent deceits of the sex." A strong character with a fervent belief in woman's changing place, Lucy Holcombe Pickens (1832-1899) was not content to live the life of a typical nineteenth-century Southern belle. Wife of Francis Wilkinson Pickens, the secessionist governor of South Carolina on the eve of the Civil War, Lucy was determined to make her mark in the world. She married "the right man," feeling that "a woman with wealth or prestige garnered from her husband's position could attain great power." She urged Pickens to accept a diplomatic mission to the court of Tsar Alexander II of Russia, and in St. Petersburg Lucy captivated the Tsar and his retinue with her beauty and charm. Upon returning to the states, she became First Lady of South Carolina just in time to encourage a Confederate unit named in her honor (The Holcombe Legion) off to war. She was the only woman to have her image engraved on Confederacy paper currency, the uncrowned "Queen of the Confederacy."
Pageantry and Black Womanhood in the Caribbean
Beauty pageants are wildly popular in the U.S. Virgin Islands, outnumbering any other single performance event and capturing the attention of the local people from toddlers to seniors. Local beauty contests provide women opportunities to demonstrate talent, style, the values of black womanhood, and the territory's social mores.Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean is a comprehensive look at the centuries-old tradition of these expressions in the Virgin Islands. M. Cynthia Oliver maps the trajectory of pageantry from its colonial precursors at tea meetings, dance dramas, and street festival parades to its current incarnation as the beauty pageant or "queen show." For the author, pageantry becomes a lens through which to view the region's understanding of gender, race, sexuality, class, and colonial power.Focusing on the queen show, Oliver reveals its twin roots in slave celebrations that parodied white colonial behavior and created creole royal rituals and celebrations heavily influenced by Africanist aesthetics. Using the U.S. Virgin Islands as an intriguing case study, Oliver shows how the pageant continues to reflect, reinforce, and challenge Caribbean cultural values concerning femininity. Queen of the Virgins examines the journey of the black woman from degraded body to vaunted queen and how this progression is marked by social unrest, growing middle-class sensibilities, and contemporary sexual and gender politics.
The Story of Eva Tanguay
In her day, Eva Tanguay (1879-1947) was one of the most famous women in America. Widely known as the "I Don't Care Girl"-named after a song she popularized and her independent, even brazen persona-Tanguay established herself as a vaudeville and musical comedy star in 1904 with the New York City premiere of the show My Lady-and never looked back. Tanguay was, at the height of a long career that stretched until the early 1930s, a trend-setting performer who embodied the emerging ideal of the bold and sexual female entertainer. Whether suggestively singing songs with titles like "It's All Been Done Before But Not the Way I Do It" and "Go As Far As You Like" or wearing a daring dress made of pennies, she was a precursor to subsequent generations of performers, from Mae West to Madonna and Lady Gaga, who have been both idolized and condemned for simultaneously displaying and playing with blatant displays of female sexuality.
In Queen of Vaudeville, Andrew L. Erdman tells Eva Tanguay's remarkable life story with verve. Born into the family of a country doctor in rural Quebec and raised in a New England mill town, Tanguay found a home on the vaudeville stage. Erdman follows the course of her life as she amasses fame and wealth, marries (and divorces) twice, engages in affairs closely followed in the press, declares herself a Christian Scientist, becomes one of the first celebrities to get plastic surgery, loses her fortune following the Wall Street Crash of 1929, and receives her last notice, an obituary in Variety. The arc of Tanguay's career follows the history of American popular culture in the first half of the twentieth century. Tanguay's appeal, so dependent on her physical presence and personal charisma, did not come across in the new media of radio and motion pictures. With nineteen rare or previously unpublished images, Queen of Vaudeville is a dynamic portrait of a dazzling and unjustly forgotten show business star.
John Lydgate and the Making of Early Theater
No medieval writer reveals more about early English drama than John Lydgate, Claire Sponsler contends. Best known for his enormously long narrative poems The Fall of Princes and The Troy Book, Lydgate also wrote numerous verses related to theatrical performances and ceremonies. This rich yet understudied body of material includes mummings for London guildsmen and sheriffs, texts for wall hangings that combined pictures and poetry, a Corpus Christi procession, and entertainments for the young Henry VI and his mother.
In The Queen's Dumbshows, Sponsler reclaims these writings to reveal what they have to tell us about performance practices in the late Middle Ages. Placing theatricality at the hub of fifteenth-century British culture, she rethinks what constituted drama in the period and explores the relationship between private forms of entertainment, such as household banquets, and more overtly public forms of political theater, such as royal entries and processions. She delineates the intersection of performance with other forms of representation such as feasts, pictorial displays, and tableaux, and parses the connections between the primarily visual and aural modes of performance and the reading of literary texts written on paper or parchment. In doing so, she has written a book of signal importance to scholars of medieval literature and culture, theater history, and visual studies.
Power and Authority in the Reign of Berenguela of Castile
Her name is undoubtedly less familiar than that of her grandmother, Eleanor of Aquitaine, or that of her famous conqueror son, Fernando III, yet during her lifetime, Berenguela of Castile (1180-1246) was one of the most powerful women in Europe. As queen-consort of Alfonso IX of León, she acquired the troubled boundary lands between the kingdoms of Castile and León and forged alliances with powerful nobles on both sides. Even after her marriage was dissolved, she continued to strengthen these connections as a member of her father's court. On her brother's death, she inherited the Castilian throne outright—and then, remarkably, elevated her son to kingship at the same time. Using her assiduously cultivated alliances, Berenguela ruled alongside Fernando and set into motion the strategy that in 1230 would result in his acquisition of the crown of León—and the permanent union of Castile and León.
In The Queen's Hand, Janna Bianchini explores Berenguela's extraordinary lifelong partnership with her son and examines the means through which she was able to build and exercise power. Bianchini contends that recognition of Berenguela as a powerful reigning queen by nobles, bishops, ambassadors, and popes shows the key participation of royal women in the western Iberian monarchy. Demonstrating how royal women could wield enormous authority both within and outside their kingdoms, Bianchini reclaims Berenguela's place as one of the most important figures of the Iberian Middle Ages.
Image-Making at the Court of Anne of Brittany, 1477-1514
What do the physical characteristics of the books acquired by elite women in the late medieval and early modern
periods tell us about their owners, and what in particular can their illustrations—especially their illustrations of women—reveal? Centered on Anne, duchess of Brittany and twice queen of France, with reference to her contemporaries and successors, The Queen's Library examines the cultural issues surrounding female modes of empowerment and book production. The book aims to uncover the harmonies and conflicts that surfaced in male-authored, male-illustrated works for and about women.
In her interdisciplinary investigation of the cultural and political legacy of Anne of Brittany and her female contemporaries, Cynthia J. Brown argues that the verbal and visual imagery used to represent these women of influence was necessarily complex because of its inherently conflicting portrayal of power and subordination. She contends that it can be understood fully only by drawing on the intersection of pertinent literary, historical, codicological, and art historical sources. In The Queen's Library, Brown examines depictions of women of power in five spheres that tellingly expose this tension: rituals of urban and royal reception; the politics of female personification allegories; the "famous-women" topos; women in mourning; and women mourned.
The Lives of Mathilda and the Epitaph of Adelheid (Medieval Texts in Translation)
Queenship and Sanctity brings together for the first time in English the anonymous Lives of Mathilda and Odilo of Cluny's Epitaph of Adelheid. Richly annotated, with an extensive introduction placing the texts and their subjects in historical and hagiographical context, it provides teachers and students with a crucial set of sources for the history of Europe (particularly Germany) in the tenth and eleventh centuries, for the development of sacred biography and medieval notions of sanctity, and for the life of aristocratic and royal women in the early Middle Ages.
New and Collected Fiction
Queer Africa is a collection of unapologetic, tangled, tender, funny, bruising and brilliant stories about the many ways in which we love each other on the continent Ö In these unafraid stories of intimacy, sweat, betrayal and restless confidences, we accompany characters into cafÈs, tattoo salons, the barest of bedrooms, coldly gleaming spaces into which the rich withdraw, unlit streets, and their own deepest interiors.