Due to recent declines regarding pollinators, The Swedish Civil Contingencies Agency launched a project investigating possible biological threats towards wild bumblebees. This led to an extensive collection of bumblebees from areas in southern Sweden during the summer of 2018. The purpose of this project was to investigate the prevalence of ten bumblebee pathogens and see if there were any difference in prevalence in areas with and areas without commercial bumblebees. This study also aimed to investigate if the prevalence of the pathogens tended to fluctuate during the season. Of the collected bumblebees (Bombus spp) the ones from the late summer season were analyzed in this project, and data from the already analyzed samples from the early summer season was used. To screen the bumblebees for the pathogens a laboratory process was followed with dissections – homogenization – DNA and RNA extractions – conversion of RNA to cDNA and lastly real-time quantitative PCR. The results showed significant differences between areas with and without commercial bumblebees for some pathogens, but the results were only consistent between early and late season for Apicystis bombi and Black queen cell virus. Apicystis bombi had a higher prevalence (2,0 and 3,0 for late and early season) in areas with commercial bumblebees. Black queen cell virus had a higher prevalence (1,3 and 1,6 for late and early season) in areas without commercial bumblebees. For the seasonal fluctuation a significant difference between early and late season could be seen for the pathogens – Crithidia bombi, Apicystis bombi, Locustacarus buchneri and Sphaerularia bombi.

This paper presents a study on the translation of slang used by drag queens. The study aims to examine how the slang used by drag queens in RuPaul’s Drag Race season 12 is translated into Japanese. The translation strategies used are revealed and the faithfulness of the translation is discussed. Both the original and translated expressions, jargon and words used by drag queens in RuPaul’s Drag Race season 12 were gathered from the first three episodes. The data was then grouped based on the translation strategy and discussed further regarding the effectiveness of the translation strategy and faithfulness of the translation itself with the help of Nida’s theory of dynamic equivalence. The results show that translation by loan, excluding the omission, was the most used translation strategy, but its success hinges on the familiarity of the target audience. Together with substitution, they were the most successful strategies regarding the faithfulness of the translation and the preservation of the slang. Softening, employed to adapt informal and vulgar expressions, risked losing the original slang, and modulation also less successful in preserving it. Paraphrase and explicitation were less successful in retaining the slang nuances but aligned with Nida’s dynamic equivalence which emphasizes the meaning.

In the music genre reggaetón there has been an ideal premiering hypermasculine behaviour and narratives. The female reggaetón artist Ivy Queen has been active within the genre since the early beginnings. She has spoken about the impact it had on her, working against so many men i a masculine culture. Ivy Queen has expressed that her masculine energy has served her well in situations where people have tried to put her down for being a woman. Ivy Queen is known for challenging gender norms with different artistic expressions. She has without a doubt paved the way for today's female reggaetón artists who are using classic women's rights-messages in their songs and images.  This study starts of with the theories used which are queer- and intersectional feminist-theories. Then working its way in to giving context with an introduction to history of gender in Latin America in relation to colonialism and Catholicism. Here, marianismo and machismo are important themes to introduce when the study moves toward characteristics of reggaetón and giving background in Ivy Queen.  This study will use an audiovisual model to analyze Ivy Queens song and music video "Quiero Bailar" in relation to machismo and marianismo in Latin America, and genre conventions in reggaetón.  The result of this study shows us that not only does Ivy Queen choose some parts of what critics see as problematic in reggaetón and machismo and uses it to her advantage. She also breaks down hegemonic structures through usage of queer modes in voice, image, and lyrics - while keeping the music traditionally formed.

No description available.

This Paper examines the minting of coins during the reign of queen Christina of Sweden (Reign 1632-1654) from the area surrounding The Baltic Sea. The coins (seven types) that this essay seeks to analyze are minted in present day’s Estonia and Latvia and shows that even if the wishes of queen Christina are to get the new Baroque fashion to her aid in the making of the coins, they still remain at the style of the Renaissance era at large. Even if the standard of the coins does not reach the standard of the coins made in southern Europe, the various ways queen Christina is portrayed are also not explained solely by lack of monetary means from the Swedish State. Local Baltic resistance or Swedish politics might be reasons for the looks of the images of the monarch as well. The symbols of the coining reveal references to previous protestant heroes aiming to promote the legacy of Monarchy and portraits Christina as a Queen of Peace. By submitting the coining at hand some of the methods contained by the 20th-century thinkers Erwin Panofsky (1892- 1968) and Heinrich Wölfflin’s (1864–1945) theories, underlying features of meaning and understanding is thus possibly revealed.

No description available.

The Earth harbors around 300 000 plant species. The rich and complex environment provided by plants is considered a key factor for the extraordinary diversity of the terrestrial fauna by, for example, providing food and shelter. This thesis contributes to the understanding of these questions by investigating how the interplay of physiology, demography, and evolution gives rise to variation and diversity in fundamental plant traits. This will help us answer questions such as: How has this amazing diversity of plant species emerged? Which mechanisms maintain diversity? How are plant strategies and plant diversity influenced by variations in the environment? A plant faces multiple problems to survive and reproduce successfully. These problems can be modeled by considering traits, trade-offs and a fitness measure. For example: How to maximize growth rate, while maximizing structural stability? I will investigate four plant models in order to understand the function of plants, and mechanisms promoting diversity.  Paper I: We study how annual plants with and without growth constraints should optimize their flowering time when productivity or season length changes. With a dynamic ontogenetic growth model and optimal control theory we prove that a bang-bang reproductive control is optimal under constrained growth and constant mortality rate. We find that growth constraints can flip the direction of optimal phenological response for increasing productivity. The reason is that the growth rate of vegetative mass saturates at high productivity and therefore it is better to flower earlier and take advantage of a longer reproductive period. If season length extends equally both in the beginning and the end of the season, growth constraints control the direction of the optimal response as well. Our theory can help explaining phenological patterns along productivity gradients, and can be linked to empirical observations made on a calendar scale. Paper II: We introduce a new measure of tree crown-rise efficiency based on the loss of biomass of the tree during growth. The more mass the tree looses during growth, the less crown-rise efficient it is. Top-heavy shapes loose more biomass than bottom-heavy shapes. Light-use efficiency is defined as the mean light assimilation of the leaves in the crown times the ratio of leaf mass and total mass. We then study the trade-off between light-use efficiency to crown-rise efficiency for tree crown shapes. We assume that the total tree mass is constant, and a constant vertical light gradient represent the shading from a surrounding forest. We find large differences in crown shapes at intermediate vertical light gradient, when both self-shading and mean-field shading are important, suggesting light-use vs crown-rise efficiency as a new trade-off that can explain tree diversity. Our crown-rise efficiency measure could easily be integrated into existing forest models. Paper III: We extend an evolutionary tree crown model, where trees with different heights compete for light, with drought-induced mortality rates depending on ground-water availability and the depth of an optional taproot. The model does not include competition for ground water. Our model explains how ground-water availability can shape plant communities, when taproot and non-taproot strategies can coexist, and when only one of these strategies can persist. We investigate how emerging plant diversity varies with water table depth, soil water gradient and drought-induced mortality rate. The taproot enables plants to reach deep water, thus reducing mortality, but also carries a construction cost, thus inducing a trade-off. We find that taproots maintain plant diversity under increasing drought mortality, and that taproots evolve when groundwater is accessible at low depths. There are no viable strategies at high drought mortality and deep water table. Red Queen evolutionary dynamics appear at intermediate drought mortality in mixed communities with and without taproots, as the community never reaches a final evolutionarily stable composition. Paper IV: We extend a size-structured plant model, with self-shading and two evolving traits, crown top-heaviness and crown width-to-height ratio. The model allows us to identify salient trade-offs for the crown shape. The most important trade-off for top-heaviness is light-use efficiency vs crownrise efficiency, and the most important trade-off for width-to-height ratio is self-shading vs branch costs. We find that when the two traits coevolve; the outcome is a single common evolutionarily stable strategy (ESS), far away from the highest net primary production (NPP). When only sun angle is decreasing with increasing latitude both the crown width-to-height ratio and crown top-heaviness decrease. However, when light response in addition to the sun angle decreases with increasing latitude, the crown width-to-height ratio is nearly invariant of latitude except at low site productivity when the ratio decreases with latitude. Top-heaviness is always decreasing with increasing latitude. Finally, we find that crown top-heaviness increases with the NPP or leaf-area index (LAI) at ESS, but crown width-to-height ratio is maximal at an intermediate NPP or LAI. / Artikel I: Arters reproduktionsframgång (fitness), till exempel antal avkommor eller frön som produceras under livet, är ofta avgörande för huruvida de är evolutionärt framgångsrika eller inte. Här undersöker vi hur ettåriga växter med eller utan tillväxtbegränsningar ska optimera sin blomningstid när produktivitet eller säsongslängd ändras. Det är optimalt att gå direkt från tillväxt till blomning när tillväxten är begränsad och dödligheten är konstant. Vid ökad produktivitet sker blomningen tidigare med tillväxtbegränsningar men senare utan tillväxtbegränsningar, vilket beror på att med tillväxtbegränsningar ökar den vegetativa massan långsamt. Därför är det bättre att blomma tidigare och ta tillvara på en längre reproduktionsperiod. Vi får samma resultat om säsongslängden ökar lika mycket i början och slutet av säsongen. Vår teori kan bidra till att förutsäga blomningstider vid produktivitetsförändringar och säsongsförändringar. Artikel II: Tillväxten hos träd kan begränsas av brist på ljus, vatten, och näring, men också genom förlust av grenar. Vi introducerar ett nytt mått på tillväxteffektiviteten hos trädkronor baserat på förlust av biomassa under trädets tillväxt. Ju mer massa trädet förlorar under tillväxt, desto mindre tillväxteffektiva är de. Topptunga former förlorar mer biomassa än bottentunga former. Vi studerar avvägningar mellan ljuseffektivitet och tillväxteffektivitet för trädformer, där ljuseffektiviteten definieras som medelljusupptaget för löven i kronan. Vi antar en konstant totalmassa, och en statisk vertikal skuggning som representerar skuggningen från en omgivande skog. Vi hittar stora skillnader i kronformer vid en medelhög skuggning, då både självskuggningen och medelskuggningen har betydelse. Vårt mått för tillväxteffektivitet kan enkelt integreras i existerande skogsmodeller. Studien visar att avvägningar mellan tillväxteffektivitet och ljuseffektivitetet kan vara viktig för mångfalden av trädformer i en skog. En överraskande upptäckt är att konformade eller sfäriska trädkronor aldrig är effektiva, men däremot timglasformade kronor. Artikel III: Växter kan försvara sig på olika sätt mot torka, till exempel genom att rulla ihop bladen eller genom att reproducera tidigare och därigenom undvika uttdragen torka. Här undersöker vi fördelarna med en pålrot vid torka. En pålrot är en rot som växer nedåt för att nå djupliggande grundvatten. Vi utvidgar en evolutionär modell av trädkronor med grundvatten och en pålrot, där träd med olika höjd konkurrerar om ljus. Det finns ingen konkurrens om vatten. Vi undersöker hur mångfalden hos träden beror på vattendjup, vattengradient och dödlighet orsakad av torka. Med hjälp av pålroten kan träden nå djupt vatten och därigenom minska dödligheten, men den medför också en kostnad, så en avvägning måste göras. Vi ser att pålrötter upprätthåller mångfalden hos växterna vid ökad mortalitet, och att pålrötter uppstår när grundvattnet är grunt. Det finns inga strategier som kan överleva om grundvattnet är djupt och dödligheten är hög. Vår modell kan förklara hur grundvatten kan förändra sammansättningen på trädsamhällen, när träd med och utan pålrot kan samexistera, och under vilka förutsättningar endast en av strategierna förväntas dominera. Artikel IV: Träd som växer upp i en skog måste konkurrera med andra träd om ljus, framförallt större träd. Detta ger upphov till en asymmetrisk ljuskonkurrens, där de små träden hämmas av större träd. Små träd har därmed små chanser att överleva utom då skogen nyligen störts och det öppnas upp en glänta. Vid denna ljuskonkurrens kan man anta att trädkronans form har stor betydelse för trädets framgång. Frågan är hur de evolutionärt fördelaktiga kronformerna beror på latituden och produktiviteten. Vi antar att latituden påverkar solens genomsnittliga vinkel och ljusrespons. Vi utvidgar en storleksstrukturerad trädmodell med självskuggning där två evolverande egenskaper beskriver kronans topptyngd och bredd. Med modellen kan vi undersöka vilka strategiska avvägningar som bestämmer om kronans form blir konkurrenskraftig. En topptung krona har högt ljusupptag eftersom det finns mest ljus högt upp i grenverket. Å andra sidan har den en låg tillväxteffektivitet eftersom topptunga kronor måste tappa mycket grenar för att behålla sin form. En bred krona har en låg självskuggning eftersom bladen är utspridda. Å andra sidan har den höga kostnader för de långa grenar som krävs. Vi finner att när dessa egenskaper evolverar tillsammans så finns endast en evolutionärt stabil strategi (ESS), långt från den högsta nettoproduktionen. När endast solvinkeln minskar med ökande latitud minskar både kronans bredd och topptyngd, men när både solvinkel och ljusrespons minskar med ökande latitud så är bredden nästan oförändrad utom vid låg produktivitet då den minskar med latituden. Kronans topptyngd minskar alltid med latituden. Slutligen ser vi hur kronans topptyngd alltid ökar med nettoproduktionen vid ESS, medan kronans bredd har ett maxium för ett mellanvärde hos nettoproduktionen vid ESS.

The motif of the uncovered female breast is ubiquitous in art of all ages and cultures. Modern analysis of breast imagery tends to be biased by the sexual significance that breasts have now. However in Italian renaissance art the exposed breast appears in many different manifestations. The purpose of this thesis is to explore several specific types of breast iconography. The first chapter will examine images of Maria lactans, and consider the religious, cultural and psychological meaning held within the image and the social changes which were to lead to its loss of popularity. Chapter Two will consider the appearance of secular images of breastfeeding, particularly in the city-states of north Italy in the early Renaissance, and examine possible sociological reasons for the political use of the depiction of breast feeding. Other associated breast iconography will also be considered. Chapter Three will focus on images of the tortured breast, particularly depictions of St. Agatha suffering the removal of her breasts during martyrdom. Both the sacred and sado-sexual elements of such images will be examined. The fourth chapter will look at images of Lucretia. It will be examined why in so many cases artists chose to depict her with her breasts exposed (in contradiction to ancient sources) and with the dagger actually pointing at or embedded in her breast. It will be argued that the breast was used in art as external symbol of the female heart. The final chapter of the thesis will focus on paintings Cleopatra. Again, there is an even more marked contradiction to ancient sources when Cleopatra is depicted dying by a snakebite to the breast. A full-circle will be achieved in the contrast of paintings of Mary suckling Christ with images of Cleopatra apparently breastfeeding a snake.

<p>Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvarala&scaron;tva mogu upotrebiti i kada je reč o pop i rok tekstu.<br />Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturolo&scaron;ko-sociolo&scaron;kom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako &scaron;to ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikolo&scaron;ka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.<br />U odabiru bendova koji su postavljeni u sredi&scaron;te analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutra&scaron;njem svetu i pesme o spolja&scaron;njem svetu; i analizirani su u skladu sa takvom podelom.<br />Nakon izvr&scaron;ene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u &scaron;irokoj i raznorodnoj oblasti pesničkog stvarala&scaron;tva.</p> / <p>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.<br />Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.<br />Keir Keightley&rsquo;s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernist<br />vii<br />authenticity &ndash; The Beatles, Queen, and Muse &ndash; were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.<br />After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general</p>

À partir d’un corpus de deux cent vingt et un portraits répartis principalement dans les anciens territoires de la Monarchie des Habsbourg (Autriche, Royaumes de Hongrie et de Bohême, mais aussi les Pays-Bas autrichiens ainsi que certains territoires italiens), réalisés entre la naissance de Marie-Thérèse en 1717 et sa mort en 1780, une base de données a été mise en place, qui a permis d’analyser l’importance des portraits de Marie-Thérèse au sein des pays de la Monarchie. Tour à tour, archiduchesse d’Autriche, puis « roi » de Hongrie et de Bohême, fille, épouse et mère des empereurs du Saint Empire Romain Germanique, Charles VI, François Ier et Joseph II, impératrice-veuve, les types de portraits diffusés tout au long du règne et de la vie de Marie-Thérèse sont à chaque fois liés à des contextes et des publics précis. L’unité et la continuité entre les Habsbourg et les Habsbourg-Lorraine est fortement soulignée à travers les portraits. Malgré la Pragmatique Sanction de 1713 censée garantir l’accès au trône de la fille aînée de Charles VI, l’arrivée au pouvoir de Marie-Thérèse en 1740 est tout de suite remise en cause et marquée par de nombreuses contestations externes comme internes. Les guerres marquent les vingt premières années du règne de Marie-Thérèse, qu’il s’agisse des guerres de Succession d’Autriche ou de la guerre de Sept ans. Même l’allégeance des élites de la Monarchie n’est jamais une chose totalement acquise. Comme le monarque ne peut être présent en personne en tout lieu et en tout temps, il doit être dédoublé par l’image. Au cours du temps, l’image royale se confond avec la figure de l’entité monarchique et étatique. La mise en place de la figure royale permet celle de l’État. La formation étatique sous le contrôle de la Monarchie est encore fragile et nécessite un certain nombre de rituels ; la commande et le don de ces portraits royaux apparaît ainsi comme l’un d’entre eux. [...] L’objectif de notre travail fut de rassembler les portraits de Marie-Thérèse pour les analyser sous l’angle de la production (avec l’analyse des peintres), sous celui de leur localisation (pays, institutions, emplacement particulier au sein d’une pièce), et des occasions de la commande et/ou de l’envoi des portraits. Enfin, les tableaux ont été étudiés sous l’angle de leur contenu iconographique, contenu qui évolue au cours des quarante années du règne et reflètent ainsi les divers enjeux des périodes comme des publics auxquels les tableaux sont destinés. L’analyse des portraits sous ces différents angles aide à appréhender les rapports de la souveraine avec ses élites, comme des élites entre elles et avec le pouvoir royal habsbourgeois. Il est possible d’en conclure à une interdépendance des acteurs entre eux, que cela passe par le choix d’un réseau de mêmes peintres, ou que cela relève des mêmes occasions de commander et/ou de recevoir des portraits royaux, ainsi que dans les types de portraits diffusés qui sont assez homogènes. / The PhD is about the representation of Maria Theresa, queen of Hungary and Bohemia and archduchess of Austria. It focuses on portraits, using them as the basis for exploring the relationship between the monarch and the elites. To this end, I consider in turn the production, the distribution and the content of the paintings. How did the portraits of Maria Theresa reinforce the legitimacy of her rule in a situation of crisis? At the same time, how did portraits provide legitimacy for both the position of the elites and their relation to Maria Theresa? These images can be considered as self-projections not only of the queen, but of the various groups that made up her monarchy. The marks and symbols of each province as well as those of the monarchy as a whole are displayed in the portraits. Royal portraits were commissioned both by Maria Theresa and her court, and by the elites of the monarchy: nobles, ecclesiastical institutions, cities and others. The same painters often worked for both the monarch and the elites, creating similar images and representations of the ruler. The most important occasions for these commissions were visits by Maria Theresa, on the occasion of a coronation, a diet or some other event; the portrait left behind served to perpetuate the presence of the monarch. It manifested the bond between the elites and the ruler; this display was in the interests of both sides. The portraits were displayed in the centres of power and representation both of the dynasty (imperial residences) and of the institutions and groups of which the monarchy was composed (aristocratic chateaux, town halls, universities). The act that placed them there were themselves performances of the mutual relation: the gift of a portrait by Maria Theresa was a sign of favour and recognition; when elites themselves ordered a portrait, this was both an act of homage and an assertion of status. The same types of paintings were ordered by the monarch and by the elites, indicating a consensus about the representation of the royal image. Maria Theresa was queen of Hungary and Bohemia, archduchess of Austria and ruler of many other provinces, each with its own title and symbolism; she was the daughter, wife, widow and mother of emperors. Her person incarnated the unity of all these provinces and the continuity between the house of Habsburg and the new line of Habsburg-Lorraine. Her body, her postures and gestures and her attributes represented in her portraits changed over the course of her reign, reflecting the development of the structure of the monarchy, the role of its ruler, and the strategies of legitimation. New symbols of legitimacy such as pen and paper appeared alongside traditional ones such as crowns and sceptres, or even supplanted them. Established imagery of both male and female Habsburgs was continued, adapted and even reinvented for Maria Theresa; regional traditions of many provinces were incorporated into her images. / Diese Dissertation beschäftigt sich mit der Darstellung der Herrscherin Maria Theresia anhand von 221 Porträts, die zwischen der Geburt der Herrscherin im Jahre 1717 und ihrem Tod im Jahre 1780 angefertigt wurden, die meisten nach dem Regierungsantritt im Jahre 1740. Die Porträts befinden sich in allen ehemaligen Ländern der Monarchie, und zwar in den österreichischen Erbländern, in Ungarn, Böhmen, Italien und in den österreichischen Niederlanden. Die Porträts erlauben es, die Beziehungen zwischen Maria Theresia und den Eliten der Monarchie (Adlige, Klöster, Städte) zu untersuchen. Sowohl die Produktion als auch die Verbreitung und der ikonographische Inhalt werden berücksichtigt. Wie stärkten die Porträts die Position und die Legitimität der Herrscherin Maria Theresia in einer schwierigen Situation? Wie legitimierten sie sowohl die Monarchin als auch die Eliten der Monarchie, die das königliche Porträt auch selbst in Auftrag gaben, in ihrer jeweiligen Stellung? Die meisten Maler der königlichen Porträts wurden an der Wiener Akademie ausgebildet, deren Direktor der wichtigste Hofmaler Maria Theresias, Martin van Meytens, war. Viele Maler, die für Kopisten gehalten werden können, imitierten die Porträts von Martin van Meytens und seiner Werkstatt. Diese Maler, die meistens unbekannt geblieben sind, vermitteln übrigens ein etwas weiblicheres Bild der Herrscherin. Die Maler, insbesondere die Hof- und Kammermaler, arbeiteten für verschiedene Auftraggeber und fertigten das königliche Porträt sowohl für den Wiener Hof als auch für die Eliten aus den verschiedenen Ländern der Monarchie an. [...]Es hat sich gezeigt, dass die Porträts sowohl von Maria Theresia als auch von den Eliten in Auftrag gegeben wurden. Sie wurden in bestimmten Räumen der adligen und kaiserlichen Schlösser ausgestellt: nämlich in Audienzzimmern, die auch Kaiserzimmer oder Maria-Theresien-Zimmer genannt wurden. Sie waren Repräsentationszeichen für die Herrscherin und zugleich Repräsentationsmittel für das eigene Prestige der Eliten. Die Bildtypen waren ähnlich, ob die Porträts von den Eliten oder vom Hof in Auftrag gegeben wurden; sie änderten sich aber im Laufe der Regierung und stellten verschiedene unter den zahlreichen Rollen Maria Theresias in den Vordergrund. Sie trat verschiedentlich als Erzherzogin von Österreich, als König (nicht Königin) von Ungarn und Böhmen, als Tochter, Ehefrau und Mutter von Kaisern des Heiligen Römischen Reiches in Erscheinung. Neben und zugleich mit ihren Rollen als Herrscherin konnte Maria Theresia auch als Frau, Mutter und Witwe gezeigt werden. Die Krone und die Kaiserwürde des Heiligen Römischen Reiches Deutscher Nation, die Maria Theresia als Frau nicht tragen durfte, spielten immer noch eine wichtige Rolle, insbesondere in der Darstellung von Maria Theresia und ihrer Familie. Komplementäre Porträts von Maria Theresia und ihrem Ehemann, Kaiser Franz I., respektive später ihrem Sohn, Kaiser Joseph II., dienten dazu, die Kontinuität zwischen den Habsburgern und den Habsburg-Lothringern zu betonen. Nach dem Aussterben der männlichen Linie der Habsburger im Jahre 1740 war es wichtig für Maria Theresia, ihre zahlreichen Kinder durch Porträts darzustellen. Neben Kronen und Zeptern werden nach und nach neue Legitimations- und Herrschaftssymbole in den Bildern dargestellt. Dokumente, Papiere, Bücher spiegeln am Ende des Lebens der Herrscherin neue Herrschaftswerte wider. Als Zeitgenossin der Aufklärung wird die Darstellung Maria Theresias von diesen neuen Symbolen geprägt.