This study examines the impact of Queen Victoria's political and diplomatic power on the marriages of her five daughters. Queen Victoria's influence on her daughters' marriages highlights her enduring behind the scenes power despite some claims to the contrary. Unlike the sons’ marriages, where considerable outside political influences brought to bear, the daughters’ marriages were almost solely influenced by Victoria. Examining the Queen's five daughters offers an alternate view of her motherhood while simultaneously exploring the diverse gender dynamics between her and her daughters.

No description available.

No description available.

O gênero é uma construção social, entretanto, ainda hoje ele é compreendido através de uma visão essencializadora e naturalizadora que se baseia em um aparato de saberes biológicos para reiterar a existência de um alinhamento entre gênero, sexo, prática sexual e desejo. Se enquadrar nesse alinhamento significa estar em consonância com as normas vigentes na nossa sociedade, e todos(as) aqueles(as) que fogem ou provocam nele deslocamentos são tidos(as) como inferiores e indesejáveis, não sendo reconhecidos como seres inteligíveis e estando, então, passíveis de exclusão. O objetivo principal desse estudo constitui em compreender a relação entre a construção parodística das personagens Drag Queens e a construção social dos papéis de gênero, dando prosseguimento à tentativa de desvendar as trajetórias e as compreensões sobre o gênero em pessoas que se encontram fora dos limites impostos pela lógica binária que valida apenas a existência do masculino e feminino, colocando-os como opostos e passíveis de categorização.2 Através do ato estético-político da construção da figura da Drag Queen acredita-se ser possível estar e cruzar a fronteira dos gêneros, tendo uma identidade ambígua ou indefinida e explicitando o caráter artificialmente imposto das identidades fixas, sendo um meio para mapear dispositivos que funcionem em prol da ruptura das ontologias e possibilitem outras formas de vivências que resistam às categorizações socialmente construídas, trazendo potência para a promoção de uma multiplicidade de possibilidades de existência / The term gender is a \"social construction\", however, it\'s still currently understood through an essential and naturalizing vision which is based on an apparatus of biological knowledges to reaffirm the existence of an alignment between gender, sexual orientation, sexual intercourse and desire. Fitting in with such alignment means being in consonance with actual social standards, and all those who avoid or arouse displacements are considered smaller and unwanted, not being recognized as intelligible human beings and, thus, being subject to exclusion. The main goal of this thesis consists on building a relation between the travesty/burlesque construction of the Drag Queens\' characters and the social construction of gender roles, continuing on in the attempt to unravel trajectories and understandings regarding the gender of people who find themselves outside the limits imposed by the binary logic which only validates the existence of male and female genders, placing them as opposites and eligible for categorization3. Through the aesthetic-political act of the construction of the Drag Queen\'s figure it\'s believed it\'s possible to be on and across the genders\' border, possessing an ambiguous or undefined identity and exposing the artificially imposed character of the fixed ones, therefore being a way of mapping devices that work for the rupture of ontologies and enable other ways of living which are able to stand up to socially constructed categorizations, bringing about enough power to promote the plurality of other possible existences

This dissertation explores the significance of Queen Esther in early modern England by examining her literary representations in light of historical, religious, political, and social contexts. Although she is often linked to Deborah and Judith, Esther’s multifaceted character allows for greater flexibility in representation than is the case with other biblical heroines. The differing aspects of her character – obedient orphan, beautiful virgin, clever and courageous queen, savior of Diaspora Jews – inspire multiple, at times even contradictory, depictions of Esther in early modern literature. Whether Protestant or Catholic, male or female, Queen or commoner, sixteenth- and seventeenth-century English writers appropriate Esther in ways that paradoxically challenge and support women’s traditional roles in society. Chapter One introduces the Esther narrative as presented in the Old Testament and Apocrypha. Chapter Two examines Esther in relation to female authority, focusing specifically on references to Queen Elizabeth as an Esther figure. Chapter Three studies the dramatic interlude Godly Queen Hester, while Chapter Four analyzes works of prose featuring Esther as an exemplum for virtuous and heroic women. Chapter Five studies poetic depictions of Esther, and Chapter Six concludes the study by noting briefly how women authors engaged in the querelle des femmes enlist Esther to refute their opponents.

Thesis (M. Soc. Sc.)--University of Hong Kong, 1991.

Thesis (M.Soc.Sc.)--University of Hong Kong, 1991. / Also available in print.

Apis mellifera L. is the only commercially cultivated bee species in Bangladesh nowadays and has been practicing for migratory beekeeping since 1990. Notably, without taking initiatives to improve the bee stocks, intensified beekeeping has been making the species vulnerable to different threats of diseases, pests and inbreeding depression. Reproductive potentiality of the queens has been declining severely. The investigation was carried out to diagnose present problems regarding reproductive potentiality of the queen bees and finding out the possible solutions. Firstly, 56 numbers of naturally mated queens (Apis mellifera L.) were collected from problematic and non-problematic hives from three districts of Bangladesh. Samples were weighed, body length and thorax width were measured, and dissected to study spermathecae appearance. Average queen body weight (160.75±3.65 mg) was found much lower than the earlier studies in different countries. Moreover, 32.33% spermathecae of the queens were found poor in appearance. Again, 3 different queen rearing and mating procedures were applied in 12 replications each: naturally mated queen (NM), grafted and naturally mated queen (GNM) and grafted and artificially inseminated queen (AIQ). NM and GNM queens were allowed to mate naturally where AIQ queens were inseminated artificially in the laboratory. Interestingly, GNM (196.65±3.13 mg) and AIQ(196.55±2.41 mg) queens were significantly heavier than the NM (159.07±6.94 mg) queens. Likewise, their spermathecae radius, respective workers, drones, brood occupation area showed much better strength than the NM queens, though, latency period of AIQ queens were higher. Since grafted queens were reared with good larvae and implemented in artificial queen cups with increased brood support, hence that could make the queens heavier and reproductively more potential, whereas NM queens were left to grow naturally and found less potential. The findings will encourage beekeepers for practicing grafting procedure as the better queen rearing procedure in field condition. However, the procedure of AIQ queens also could be used for stock improvement and bee research because of its control mating system. / <p>My degree project was external, carried out in Sher e Bangla Agricultural University, Bangladesh, therefore, my presentation was done through skype from Bangladesh.</p>

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Esta dissertaÃÃo demonstra como a experiÃncia drag queen ocorrente na cidade de Fortaleza, situada no nordeste brasileiro, constitui uma experiÃncia ritual e performÃtica que desafia os limites dos binarismos de gÃnero e sexo alÃm de aproximar o que temos como sendo o mundo das artes ao que entendemos como sendo o mundo cotidiano. O trabalho de campo se fundamenta em observaÃÃes diretas nos locais que dÃo passagem a performance drag queen em Fortaleza tais como boates, bares e outras casas de show bem como na coleta de mais de 50 entrevistas, no estilo histÃria de vida, gravadas entre os anos de 2004 e 2007 com drag queens, transformistas, transexuais e travestis residentes na aludida cidade. Ao revelar o carÃter ritual/performÃtico da experiÃncia drag queen por meio de uma anÃlise daquilo que essas personagens denominam montagem, o autor conclui que um devir-artista à encontrado pelas drag queens sob o trajeto de certas liminaridades. O escopo teÃrico do trabalho se fundamenta na antropologia dos rituais, na etnoestÃtica, nos Performance Studies, na Queer Theory e na sociologia da agÃncia. A metodologia segue os rumos de uma metaetnografia em diÃlogo com a experiÃncia cartogrÃfica, desenvolvida por Gilles Deleuze e FÃlix Guattari. / This dissertation shows how the drag queen experience present in the city of Fortaleza, located in the Northeastern region of Brazil, consists of a ritualistic and performative experience which challenges the limits of the binary of gender and sex and also narrows what we understand as the world of arts and the everyday life. The field research is based on direct observations in the places where the drag queen performances happen in Fortaleza such as nightclubs, bars and other cabaret entertainment clubs, as well as on the collection of data in more than 50 interviews in life-story model recorded between the years 2004 and 2007 with drag queens, transformists, transsexuals and transvestites in this city. The ritualistic and performative aspects of the drag queen experience is evidenced through an analysis of what these characters name âmontagemâ (cross-dressing), the author can conclude that an becoming-artist can be found by the drag queens in the form of certain liminalities. The theoretical scope of this work is based on the anthropology of the ritual, the ethno-aesthetics, the Performance Studies, the Queer Theory and the sociology of agency. The methodology follows the steps of a meta-etnography in dialogue with the cartography experience, developed by Gilles Deleuze and FÃlix Guattari.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T15:36:49Z No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:39:27Z (GMT) No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:39:27Z (GMT). No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-05 / Outro / This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance. / A presente dissertação busca rememorar a trajetória do espetáculo Jú Onze e 24, dirigido por Júlio Vilela, e suas últimas tentativas de sobrevivência, apresentando sua estrutura e circulação entre os espaços teatrais e espaços LGBT de Goiânia, tendo como foco principal as performances drag-queens. Tais drags, ao realizarem a produção de um corpo feminino traduzido como “montagens”, apresentam-se em diferentes cartografias. Estas cartografias são entendidas como modos de operação flexíveis que se remontam entre si. O fato de se produzir e se apresentar, caracteriza seu processo performativo, o que permitiu realizar um estudo sobre as transformações estéticas no espetáculo, baseado nos estudos sobre performance, teoria queer, gênero e sexualidade. Estas temáticas puderam incitar processos de identificação e diferença acerca de sujeitos de sexualidade desviantes, como travestis e transexuais que são confundidos ou colocados sob o mesmo rótulo, o que corrobora para que haja confusão usual a respeito da atuação drag-queen