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Copyright of French Journal of British Studies / Revue Française de Civilisation Britannique is the property of Centre de Recherches et d'Etudes en Civilisation Britannique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyses how photographs of Queen Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke made between 1864 and 1866 were connected to her pursuit of a pono (proper, virtuous) path forward for herself and her people after the deaths of her son and husband. The article opens with the mele makena (lament) 'No Waiʻaleʻale Ke Aloha', which invites new ways of thinking about portrait photographs of Queen Emma in the wake of these tremendous personal and political losses. Following this it addresses the connections between photographs of Emma and Hawaiian mourning and memorialization before delving into a discussion of the ways photography was entangled with her political and religious goals. These goals included establishing the Anglican mission in Hawaiʻi and developing a lifelong friendship with Queen Victoria. There are notable similarities within photographs of these two queens suggesting that photography enabled Queen Emma to tap into the mana (power) associated with Queen Victoria and Christian feminine power. The careful cultivation of her self-image in portrait photographs became a significant form of empowerment for Emma. The final section continues discussing this photographic co-mingling through the lens of international fellowship. It considers how Queen Emma used gifts of photography to create a kin-like relationship between herself and Queen Victoria, recalling the discussions of religion and mourning addressed in previous parts of the article. [ABSTRACT FROM AUTHOR]

The life of the most depicted and written about monarch, Queen Victoria, was full of twists that set her life on a path that was never to be walked by herself. She was always accompanied by shadow figures such as her mother, Sir Conroy or even her own husband, in the game of power, dominance and even love. Her life could be divided into two parts that depict a disturbing portrayal of her as the most powerful woman of her times who was also controlled by the aforementioned figures, and as one finally liberated from all of the ties constraining her freedom. This article traces and analyses events in Victoria's life that shaped her character and constituted the feeling of constraint, and those that inevitably led her to being liberated from them. [ABSTRACT FROM AUTHOR]

Captain Frederick Marryat is among the most noted writers of the nineteenth century. This article explains why he became a distinguished figure. Throughout his life, he was a Conservative traditionalist and warned against the dangers of revolution, especially the French Revolution. The article clarifies how he supported the monarchical system of Britain and refers to several of his works. He served in the Royal Navy for many years, during which he experienced wondrous adventures. After he was invalided from the service because of fracturing a blood vessel, he turned to writing. In his writing career, he was critical of some of the deficiencies of the Royal Navy. Using a historical approach, this article discusses how he expressed his criticism and what effects it had on society. Among his writings was a work which angered King William IV, leading to his decision to exclude Marryat from his knighthood list. After this, Marryat wrote two books censuring the King for the corruption in his government and for removing him from the knighthood list. After the death of the King, Queen Victoria ascended the throne. This was the start of a new phase of life for Marryat. This article discusses how Marryat endeavoured to change his status in relation to the Royal Family and how he called upon Queen Victoria to act as a judge regarding his conflict with the preceding monarch. [ABSTRACT FROM AUTHOR]

This article describes the implementation of and assessment findings for a digital archival assignment in the 3000‐level Victorian Literature and Culture course at Florida Gulf Coast University. The assignment utilized ProQuest's database, Queen Victoria's Journals, which comprises the extant journals of Queen Victoria, and demonstrated the value of primary historical research and digital archives in enhancing student content knowledge, information literacy, and critical thinking. [ABSTRACT FROM AUTHOR]

This paper is investigating how the Crimean War (1853 – 1856) was depicted in the Journals of Queen Victoria. The Queen's Journals are a valuable source of information about this phase of the Eastern Question. They can provide an important perspective on the conflict between the West and Russia. [ABSTRACT FROM AUTHOR]

This analysis explores the history of Queen Victoria’s Golden Jubilee through an investigation of three objects: James McNeill Whistler’s print Tilbury (1887), a photograph taken aboard the HMY Victoria and Albert during the Naval Review, and a Royal Worcester commemorative scent bottle. Drawing from methodologies developed in the fields of material culture studies, histories of empire, and the environmental humanities, the study traces the maritime itineraries made visible during the Jubilee. For Whistler, the Jubilee provided an opportunity to leverage Britain’s imperial character in a way that would bolster his own artistic ambitions as president of the Society of British Artists. In Tilbury, he renders the newly inaugurated docks through a series of etched lines that convey the frenetic level of activity on the riverbank, and point to the environmental impact of this infrastructure project. In the photograph from the Naval Review, two Indian men who had recently joined the royal household mingle with the Queen’s guests and companions. Identified as Abdul Karim and Muhammad Bakhsh, their presence signals the widespread visibility of Indian visitors and servants throughout the Jubilee, which occurred only a year after the Indian and Colonial Exhibition. The Queen’s global reign is also celebrated in the Royal Worcester souvenir scent bottle, composed of materials mined locally in Britain and imported from South America and other regions. Collectively, these object studies delineate specific ways in which the Jubilee centered the Thames as a portal for the transit and display of colonized peoples and imperial goods, and expand art-historical approaches to the interconnected relationships foregrounded by the environmental and global humanities.

December 23, 2022 marked the 150th commemoration of painter George Catlin's death. Two days before Christmas of 1872, this artist passed away, a humble, penniless, almost forgotten old man, after having an extraordinary life experience, travelling enormous distances in space and time, from the forms of the primitive village lost in the northern prairies of the New World, to the glittering metropolises and royal palaces of the Old World. Catlin had an adventurous life, full of satisfactions, glory, unanimous recognition, but also of hardships, of financial entanglements that even led him to the debtors' prison and to the loss of his valuable works and collections, built up with great sacrifices. Educated to become a lawyer, he gave up the bar to devote himself to painting, in which he trained as a self-taught artist. He had some success as a miniature and portrait painter in Philadelphia but his great calling was the prairies and the natives who still roamed them in the first half of the 19th century. Catlin realized the imminent absorption and disappearance of these Native Americans into the mass of European-style civilization. He realized also that, through his art, he could preserve the natural, unaltered appearance of these communities, especially those that, being far from the urban area, had not been altered by contact with the whites. In 1830 he began his great adventure through the still virgin lands of the West. With no financial backing from any institution or wealthy patron, Catlin set out, brave and determined, at his own expense, on this far-reaching venture. For eight years he travelled to remote areas and visited 48 tribes. To make it easier for him to transport his materials, he only bought canvas of a small size (29 × 24 in/74 × 61 cm), which he could wrap in cylinders of waterproof oilskin. Thus, most of his works are of the same size whatever the subject, be they bust or full-length portraits, landscapes or large compositions of buffalo hunters or ceremonies with many figures. For his uncanny ability to reproduce the features of models, the Indians gave him the name Te-ho-pe-nee Wash-ee which translated to White Medicine Man. In 1837 he began exhibiting his Indian Gallery, first in New York, then in Washington, Baltimore, Philadelphia and Boston, and in 1839 he crossed the ocean with 600 paintings and 8 tons of ethnographic pieces, including a 25 feet (7.60 m) high Crow tepee, which he exhibited with great success in London, Paris and Brussels. He was received by Queen Victoria at Windsor Castle and by King Louis Philippe at the Tuileries and St. Cloud. The latter invited him to exhibit at the Louvre and commissioned several copies of works he liked. A gifted memoirist, Catlin wrote several volumes of memoirs about his travels and the Indian chiefs and European royalty he met. George Sand, Théophile Gautier and Charles Baudelaire devoted enthusiastic lines to his works of art. George Catlin is one of the most important 19th century documentary painters of America and worldwide. A pioneer of this art form, a dilettante ethnographer, a talented memoirist of his adventures, an ingenious entrepreneur of folkloric shows, and a world celebrity of his time, George Catlin left a work of enduring value in which the faces and daily activities of Native Americans in the last days of glory of their traditional way of life were preserved before they were assimilated into the mainstream of European-style American civilization. [ABSTRACT FROM AUTHOR]

As the embodiment of empire, Victoria became a symbol of allegiance and resistance, love and loathing. This is nowhere more apparent than in the many monuments memorializing her across the United Kingdom and around the world. At a moment when public sculpture has become increasingly controversial, as witnessed by the removal of Confederate monuments in the American South or the ‘Rhodes Must Fall’ movement, monuments to Victoria are also coming under scrutiny. While many statues have been damaged or defaced from Bristol to Bangkok, and from Montreal to Delhi — important interventions in themselves — more interesting reactions have come from artists. Around the globe, art projects have worked with Victoria monuments in order to find a way of engaging with their troubled history, offering a critical reframing that can break the often unproductive arguments about removal or retention. This article juxtaposes works by Tatsurou Bashi, Sophie Ernst, Hew Locke, Krzysztof Wodiczko and Gary Kirkham, and Hadley+Maxwell, exploring the artists’ engagement with the material form of the monuments and the connections between Victoria’s self-made image and its unmaking in the works discussed.

This article will address curatorial challenges faced by the Government Art Collection in the repatriation, conservation, and selection of a new display for the British ambassador’s residence in Tehran following an attack by Iranian protesters in 2011. Drawing on the authors’ experience, the article will focus primarily on the history of George Hayter’s autograph copy of Queen Victoria’s state portrait of c. 1838–40, commissioned from the artist specifically for the new legation building in 1862–63. It will reconstruct the context of its making, the significance of its presence in nineteenth-century Tehran, its survival, and reinstatement in 2019. While uncovering new archival material that will help to situate this portrait within the wider context of Hayter’s copies of Victoria’s state portrait and to shed light on his so far unexplored connections with Iran, its examination will also explore what this work conveys about the complex history between Britain and Iran. At a time when the UK is having a profound national conversation about how it wants to engage internationally, can Victoria’s image help to build cultural relations or is it merely a relic of an imperial past?

The Victoria Memorial in London and the Victoria Memorial Hall, Calcutta are the two most substantial and enduring commemorative schemes built following the death of Queen Victoria on 23 January 1901. Both memorials remain heritage icons, immediately recognizable parts of the urban fabric of London and Calcutta. The original schemes are nonetheless notable for the imperial myth-making and the way they place Victoria as the focal point of British rule. Moreover, both schemes foreground the question of the nature of Victoria’s agency and fashioning in relation to commemoration and hero worship. The statues of Victoria by Thomas Brock at the heart of both memorials are part of much grander and elaborate reshapings of the political and urban landscape, but the commemoration of Victoria in Britain and India reveals some of the frictions and instability around her legacy.

After Prince Albert’s death in 1861, Queen Victoria began an extended period of mourning that remains indelibly linked to perceptions of her identity and visual representation. This article firstly addresses the place of photography in the construction of family memory and examines how Victoria used photography to articulate her private grief and to remember Albert in the context of both her immediate and extended family. Secondly, I seek to establish the ways in which this private image is made public and is circulated by Victoria to generate popular empathy and support for political ends. Lastly, I touch on the global reach of this, and question how mourning and widowhood are implicated in international royal networks and imperial power. Thus, the article reveals the photograph of the mourning widow as more than just an illustration of Victoria and her grief; rather, it shows how the medium shapes that grief and makes it useful for monarchy and empire.

Queen Victoria published her first Highland memoir in 1867, a sentimental narrative of royal life dedicated to Prince Albert entitled Leaves from the Journal of Our Life in the Highlands. In response to the popularity of this edition, the publisher Smith, Elder and Co. released a lavishly illustrated edition in late 1868 to capitalize on the Christmas gift book market. It featured seventy-nine illustrations after works by various artists and photographers. When scholars have turned their attention to the Queen’s journal, they have produced rich and sophisticated discussions of gender, monarchy, and celebrity, especially as they relate to royal domesticity in the Scottish Highlands. Yet these readings have rarely extended to the illustrated version of the text. This article will consider the conjunction of monarchy, the Scottish Highlands, and illustrated print culture in the illustrated Leaves through two different types of images: steel-plate engravings after watercolours by the artist Carl Haag and wood engravings after watercolour sketches of Highland games by the Swedish artist Egron Lundgren. Each positions the male Highlander as a central figure in constructing the dynamic of royal family life, sovereignty, and empire. Catherine Hall and Sonya Rose have recently explored what it meant for the British to be ‘at home with the Empire’, asking ‘was it possible to be “at home” with an empire and with the effects of imperial power or was there something dangerous and damaging about such an entanglement?’. In the course of this article, I argue that these illustrations constructed the male Highlander as a site of familiarity within the bounds of the nation, while simultaneously signalling his otherness and proximity to the more far-flung reaches of empire. As a result, Leaves is as much about empire as it is about domesticity, even as it eschews direct references to current events of the period that directly threatened both.

On Queen Victoria’s eightieth birthday, 24 May 1899, the State Apartments at Kensington Palace, the Queen’s childhood home, opened to public visitors. As the nineteenth century drew towards its end, and aware of her own mortality, the restoration of the palace and the representation of the State Apartments provided an opportunity for the Queen, as a proactive curator, to construct a visual narrative of her reign and signal the relationship she sought between monarch and subject within spaces redolent with and conditioned by her life narrative. With the Queen’s encouragement, and under the aegis of Liberal politician and courtier Lord Esher, paintings and other artefacts were gathered to position her within the royal lineage and international dynastic networks. They celebrate her reign as the culmination of nineteenth-century British imperial ambition, and reflect and recast her personal history. The nature of the re-presentation of the State Apartments at Kensington Palace and the impact they had on early visitors is compared to the visitor experience at Osborne House, another royal home closely associated with the Queen’s history, which opened to public visitors following a state-managed restoration shortly after the Queen’s death.

Seven contemporary commentators whose experience has been touched by Queen Victoria’s history and its legacy address the question: how should we curate Victoria today?

This introduction sets out the structure and contents of this issue of 19: ‘Victoria’s Self-Fashioning: Curating the Royal Image for Dynasty, Nation, and Empire’.

This afterword reflects on this issue of 19’s accomplishments and on prior studies of Queen Victoria in local and global contexts, and suggests directions for future scholarship.

Queen Victoria was enthusiastically taken up by the shows, exhibitions, and lectures that blossomed in the nineteenth century. This collaborative article demonstrates the way Victoria’s life and reign was embraced by the moving-image and projected-image formats that proliferated during the period, particularly touring panoramas, magic lantern shows, and early film. Victoria and Albert were themselves intermittent visitors to these new pictorial shows in London, while, across both nation and empire, local communities were able to participate in key royal events thanks to their replaying and broadcasting by media such as the magic lantern and early film.

When William Powell Frith was asked to paint the marriage of Prince Albert and Princess Alexandra in 1863, it was impressed upon him that the ‘great object with the Queen herself’ was that she be ‘unmistakeably visible’ in the composition. In this article, I offer a close reading of the resulting painting and its reception, arguing that Victoria’s decision to commission the picture from Frith lent a very particular set of contexts to the form and content of her visibility. In 1863 Frith was at the height of his fame for his modern-life subjects, Ramsgate Sands, Derby Day, and The Railway Station. By commissioning the ‘successor’ to this series, Queen Victoria placed herself quite deliberately into the very visible context of ‘modern life’, both in the painting and at the Academy. In Frith’s ingenious composition, Victoria sits high above the crowd, clearly visible to the viewers of the picture, presiding over her citizenry and the continuation of her dynasty, even if within the space of the picture itself only the loving few can see her. Represented as both aloof from and fully present within the contemporary moment, Queen Victoria is unmistakeably visible both as the vigilant monarch and the secluded widow.

In December 1848, the Illustrated London News (ILN) created a sensation by presenting Queen Victoria's Christmas tree at Windsor Castle. Inspired by Benedict Anderson's concept of imagined communities and drawing upon his analysis of newspapers along with Michael Buckland's documentary dimensions, this article presents a conceptual documentary analysis of Queen Victoria's Christmas tree to illuminate documentation's central role in materializing and constituting the evergreen coniferous tree as a customary holiday tradition. Specifically, the ILN materialized the Christmas tree for a global audience as they read, viewed, and interacted with this document, thereby bringing the royal family's festive tradition into the presence of their own homes and holiday celebrations. It was this documentary access to Queen Victoria's yuletide celebrations that helped popularize the Christmas tree and ultimately established it as a signature feature of Christmas, not only for the British royal family, but also for all Christians and Christmas celebrants worldwide. [ABSTRACT FROM AUTHOR]

This article applies a multimodal analysis to explore the potential meanings attached to the re-inscriptions of public monuments and spaces produced during the Black Lives Matter protests in 2020. Specific attention is given to several contentious examples: the George Floyd Memorial in Minneapolis, Winston Churchill's statue in London, and the Queen Victoria statue in Leeds. We reflect on the ephemerality of protest re-inscriptions and how they receive a multimodal 'second-life' through their (re)presentations in mainstream/social media. Although institutions of power are quick to remove subversive re-inscriptions from the public sphere, we note that the portrait mural of George Floyd continues to function as a universal shrine to the injustices experienced by the wider Black community. A memorial space which is allowed to linger until its promised transubstantiation into George Perry Floyd Jr Place. In contrast, the other BLM re-inscriptions analysed in this article have now been removed from the physical public sphere, in which their transient messages of protest and public pedagogy will have in some cases been privately and publicly archived digitally on the internet; where evidence is much harder to remove than the public sphere. [ABSTRACT FROM AUTHOR]

In this article we intend to focus on the most significant as-pects 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 21st 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 em-phasized –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.

Motherhood is by many, especially women, one of the greatest experiences in life. The ultimate goal that women, if not all than many, should achieve. Nowadays, we are flooded with help books, websites, guides that lead us through pregnancy and then assist us during the first months of our new born baby. This blessed state seems to be cherished now above all, however, this view was not always the same. Throughout history we can see many women for whom maternity was not meant to be and still they were able to fulfil their life-time goals devoting themselves to other areas of life. For some, maternity was rather a political aspect that would secure the future of the nation. In my article I will focus on the aspect of motherhood through the eyes of Queen Victoria for whom, indeed, maternity was rather an unwelcomed addition to her royal life. I will discuss her own rigid upbringing which can help to understand her later attitude towards her own children. The trend, where there were no proper roles ascribed to parents in terms of their influence on their children, was predominant in the 19th century and based on this we can see how important it was for character creation. [ABSTRACT FROM AUTHOR]

Copyright of Translatorica & Translata is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents stained glass as an important source of material evidence for attitudes to monarchy in Victorian Britain. It argues that expressions of veneration for Victoria by different religious constituencies were not merely instinctual and affective but considered and erudite. The ways in which different Anglican constituencies in particular marked key moments in Victoria’s reign within their churches made her person and throne a symbol for their ecclesiastical visions. The article supports its argument by offering a close, contextual reading of one such memorial, Charles Eamer Kempe’s Diamond Jubilee window (1898) in St Saviour’s, Southwark. Although nominally intended as a memorial to the long dead Prince Albert, it made only oblique reference to him. Instead, the window’s patron and the church’s rector William Thompson described the four figures depicted in its lights — Pope Gregory, King Ethelbert, Stephen Langton, and William of Wykeham — as ‘illustrating the union of Church and State’. Its message that the national Church had always been the indivisible ally of godly monarchs since the dawn of English history was the more powerful when read against Kempe and Thompson’s broader scheme for the redecoration of the restored St Saviour’s. Together they created a series of windows which not only interwove the English monarchy with the cosmic salvation narrative of Christianity but represented the church as a benevolent and inclusive patron of eminent writers, thinkers, and philanthropists in Southwark.

What is the so-called "Irish dimension" in Wilde's The Picture of Dorian Gray ? This article evaluates three recent searches for Irish meanings in novel and situates the authors' methodologies within a broader debate about intersections between contemporary literary-critical techniques and the post-truth era. The argument here is that allegorizing interpretation, which treats literary texts as if they were parables about their historical contexts, obstructs not only the accurate identification of The Picture of Dorian Gray 's "Irish dimension[s]" but also the methodological and pedagogical strategies needed to dispel the inadvertent replication of post-truth techniques in current Wildean scholarship. [97 words] [ABSTRACT FROM AUTHOR]

Among others, Hester Travers Smith (1923) and Leslie Flint (1962) claimed to have communicated with the spirit of Oscar Wilde. These and lesser-known instances cannot be entirely explained as the inevitable result of Wilde's continuing notoriety nor even as the mediums' desire to produce a few witty epigrams to sway the incredulous. Wilde's interest in the otherworldly is expressed most explicitly in terms of his literary output in The Picture of Dorian Gray , though the ties between it and spiritualism have gone unexplored. This article fills this lacuna by establishing Wilde's position within the fin-de-siècle magical revival, investigating Wilde's engagement with phenomena associated with spiritualism and the supernatural, paying particular attention to his encounters with the photographic medium, the connections between his experiences of photographic and painted portraits and occult activities in order to illuminate spiritually inflected traces in his writings. [ABSTRACT FROM AUTHOR]

The present article describes the life of the Grand Duchess Maria Alexandrovna of Russia (1853–1920) through the correspondence with her parents: the Emperor of Russia Alexander II, the Empress and close friends. The accent is on Grand Duchess's life in Great Britain after her marriage in 1874 to Prince Alfred, Duke of Edinburgh (1844–1900), second son of the Queen Victoria but also about her life in the Duchies of Saxe-Coburg and Gotha after 1893 with frequent visits to her family in Russia. The letters give us important information about the Grand Duchess's life, her children, and her social contacts with political and diplomatic circles of the period. [ABSTRACT FROM AUTHOR]

Over the long nineteenth century, technological changes, coalescing economic, political and religious interests, and small-scale informal social processes underpinned Queen Victoria's reach into the lives of women in court circles. Any gossip concerning a womans reputation resulted in her exclusion from court social circles, with press reactions ranging from an absence of further news about the olfender to a titillating scandal that reinforced prevailing social norms and boosted sales. This discussion reviews the circumstances of three women who fell into this category, with a particular focus on the least visible of them in terms of history: the commoner who became Mary, Dowager Duchess of Sutherland. [ABSTRACT FROM AUTHOR]

This object-based study of Victoria's surviving wardrobe uses dress as material evidence for the changes that took place to the Queen's physical body. Our exploration of the Queen's attitude towards clothing combined with her physical measurements as recorded in surviving items from her wardrobe allow us to nuance the conventional biographical narrative of a woman who consistently gained weight over her lifetime. We challenge the perception that she immediately became rotund after her husband's death as a consequence of grief and argue that her later-life mourning clothes were a distinctive, comfortable and rational response to her physical body and her status as a widow. [ABSTRACT FROM AUTHOR]

This article reads the 1884 trial of The Queen v. Dudley and Stephens about the "custom of the sea"(cannibalism) alongside popular adventure novels of the same decade by R. L. Stevenson and H. Rider Haggard. The trial functioned ritually to impose and affirm a community conscience in which the rule of law itself became a kind of cultural fiction for condemning the necessity defense as unmanly and unEnglish. The legal authorities staged disorder in order to contain it. Their spectacular trial functioned ritually to transform the same symbolic patterns traced in the adventure novels into moral truth and legal precedent. This analysis restores the trial of Dudley and Stephens to the sensational status it had in 1884 and juxtaposes it with adventure novels to reframe it as an important episode in a larger cultural narrative about the form and fortunes of a hegemonic, late-Victorian imperial masculinity. [147 words] [ABSTRACT FROM AUTHOR]

Bram Stoker's Ireland is a curious place, at once utopia and dystopia. The Snake's Pass (1890) is his only full-length novel to be set in Ireland (along with "The Man from Shorrox," 1894, and "A New Departure in Art," 1908) but echoes of his homeland are evident across his canon. A self-declared "philosophical home ruler" and an ardent monarchist, he supported Home Rule brought about by peaceful means while retaining a belief in the British Empire. The beauty of his homeland and the superiority of his adopted land, England, appear as separate images overlaid. Ireland is savage and spiritual but in need of subjugation and protection. In reconciling the two, Stoker creates simplified, self-destructive images of his countrymen that elide delving deeper into the legitimacy of their grievances. Divisions are transcended and a harmonious whole is forged in the unlikely peace of Stoker's literary Ireland. [145 words] [ABSTRACT FROM AUTHOR]

From 1877 to 1883, Puck magazine--whose motto was "What fools these mortals be!"--responded to the building of the Brooklyn Bridge with graphics and commentary that ranged from pointed satire to lighthearted puns and humor. Its ongoing record of the complexities involved with the bridge's construction, celebration, and everyday use provides a historical perspective that has gone largely unexamined. As Puck dealt satirically with the way the Great Bridge changed the skyline and affected Brooklyn/ Manhattan dynamics on municipal, economic, and social levels, it provided a glimpse into the personal implications of those sweeping changes. It offered serious admonitions about the way political machinations affected construction, vehicle and pedestrian accessibility, and safety, and it grieved with its readers over the tragedies that occurred while the bridge was being built and after. Puck's graphics, while often humorous, were fearless in criticizing those in power, alerting readers to underlying issues that would affect them on a day-to-day basis. Its satirical humor helped shape public opinion, making what seemed to be an impracticable project a household word. In so doing, Puck effectively created a new motto: "What builders these mortals be!" [ABSTRACT FROM AUTHOR]

This article examines how instruments have changed the Crown of Canada from 1867 through to the present, how this change has been effected, and the extent to which the Canadian Crown is distinct from the British Crown. The main part of this article focuses on the manner in which law, politics, and policy (both Canadian and non-Canadian) have evolved a British Imperial institution since the process by which the federal Dominion of Canada was formed nearly 150 years ago through to a nation uniquely Canadian as it exists today. The evolution of the Canadian Crown has taken place through approximately fifteen discrete events since the time of Canadian confederation on July 1, 1867. These fifteen events are loosely categorized into three discrete periods: The Imperial Crown (1867-1930), A Shared Crown (1931-1981), and The Canadian Crown (1982-present).

Queen Victoria was the namesake, the very face, of the latter half of the nineteenth century. 'Neo-Victoria', on the other hand, is a memory of the Queen by means of which we sustain her relevance even into the new millennium - via such biopics as Jean-Marc Vallée's The Young Victoria (2009) and, more recently, Tom Vaughan's ITV series Victoria (2016). This paper compares Victorian and neo-Victorian accounts of the Queen on the basis of underlying tropes and discourses of domestic femininity. In the nineteenth century, Victoria was portrayed as the consummate bourgeois wife and imperial mother to coloniser and colonised alike (Voskuil 2004: 170); at present, a Neo-Victoria is introduced as a reaction against her progenitor's projected wifely submissiveness, but, curiously, not against the imperial meaning inscribed in her maternal role. Neo-Victoria's vestigial imperialism, I argue, is at least an impediment to Vallée's project of retrospectively empowering Victorian femininity or re-envisioning the nineteenth century in a postcolonial global context. The Young Victoria, in particular, seeks to redress Victorian patriarchy but in the end invigorates a residual nostalgia for imperial Britain. [ABSTRACT FROM AUTHOR]

In the twenty-first century, monuments and memorials to former colonial empires still stand--sites where the past has a presence. The Queen Victoria Memorial located at Buckingham Palace in conjunction with the adjoining gates and pillars is a material, public, permanent site that commemorates the past glory of the British Empire. I argue that the Memorial's materiality rhetorically performs the strategies and tactics of colonialism. [ABSTRACT FROM AUTHOR]