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In the well-entrenched critical view of the Jacobean period, James I is credited with the flowering of culture in the early years of the seventeenth century. His queen, Anna of Denmark, is seen as a shadowy figure at best, a capricious and shallow one at worst. But Leeds Barroll makes a well-documented case that it was Anna who, for her own purposes, developed an alternative court and sponsored many of the other artistic ventures in one of the most productive and innovative periods of English cultural history. Married at seventeen, Anna soon became a shrewd and powerful player in the court politics of Scotland and, later, England. Her influence can be seen in James's choices for advisors and beneficiaries of royal attention. In fact, James's and Anna's longstanding dispute over the raising of the heir, Henry, caused a major scandal of the time and was suspected as a plot against the king's safety. In order to assert her own power, Anna actually forced a miscarriage upon herself, an extraordinary event that is referred to in much unnoticed contemporary diplomatic correspondence. An important feature of court entertainment and literary production at this time was the development of the extravagant drama known as the masque, which reached its literary peak in the works of Ben Jonson and Inigo Jones. Barroll argues that it was in fact Anna and not James who encouraged and staged the masques, as a way of defining both a social and political identity for the royal consort, a role that had been nonexistent under Elizabeth. Barroll's work on Anna's patronage also sets Shakespeare's company in a broader context. By writing the cultural biography of Anna of Denmark, queen of England, Leeds Barroll reestablishes the influential and distinctive role of the queen consort in early modern Europe.
The first biography of Australia's own fairytale princess.
Following on from I AM JULIET (August 2014), this is the second title in a new series for young people that focuses on the reinterpretation of Shakespeare's classic and enduring plays. Ages: 10+ She is the girl who will be queen: Ophelia, daughter of Denmarks lord chancellor and loved by Prince Hamlet. But while Hamlets family stab, poison or haunt one another, Ophelia plans a sensible rule, one filled with justice and the making of delicious cheeses. Even if she has to pretend to be mad to make it happen, Ophelia will let nothing, not even howling ghosts, stand in her way. This is Shakespeares play, but with what might also have happened behind the scenes. And this story has a happy ending. From Jackie French, one of Australias most respected and awarded authors and the Australian Childrens Laureate and 2015 Senior Australian of the Year, comes a book that reimagines the life of one of Shakespeares most intriguing female characters. Praise for I am Juliet: The captivating storyline and well-developed characters will make it popular with high school-aged readers. Magpies
With a single kiss, a young maid saves her beloved from the Snow Queen’s icy imprisonment. When splinters from an evil troll’s magic mirror get into the heart and eye of Kai, he is tricked into accompanying the Snow Queen to her palace, and only the innocence and kindness of Gerda’s heart can save him. The inspiration for Frozen, Hans Christian’s Andersen’s “The Snow Queen” is one of the most beloved fairy tales in history. HarperPerennialClassics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
This book examines how early Stuart queens navigated their roles as political players and artistic patrons in a culture deeply conflicted about the legitimacy of female authority. Anna of Denmark and Henrietta Maria both employed powerful female archetypes such as Amazons and the Virgin Mary in court performances. Susan Dunn-Hensley analyzes how darker images of usurping, contaminating women, epitomized by the witch, often merged with these celebratory depictions. By tracing these competing representations through the Jacobean and Caroline periods, Dunn-Hensley peels back layers of misogyny from historical scholarship and points to rich new lines of inquiry. Few have written about Anna’s religious beliefs, and comparing her Catholicism with Henrietta Maria’s illuminates the ways in which both women were politically subversive. This book offers an important corrective to centuries of negative representation, and contributes to a fuller understanding of the role of queenship in the English Civil War and the fall of the Stuart monarchy.
This is the story of a young English lutenist named Peter Claire who, in 1629, arrives at the Danish Court to join King Christian IV's Royal Orchestra.
From army cadets on Merseyside to action in the Falklands and Northern Ireland. Edward Denmark's story may shock and disturb those who see the men of our armed forces as serving their Queen and Country. For that is not the reality. The reality is that when you face the enemy you fight not for Queen and country but for life-for survival- for the chance to see the dawn the following day