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Warren Oakley

3 ‘Plausible’ Jack and the Royalty adventurers Enter the East End It was a brave soul who wandered east past Houndsditch and the Minories, the arc of roads that terminated at Tower Hill and marked the end of the Enlightenment and the beginning of the East End darkness. Houndsditch was the boundary of civilization for the city, following the course of an ancient ditch outside of the London Wall that had festered with waste and dead dogs in time immemorial. In the psyche of those Georgians who rode not walked, it still divided the mannerly from the monstrous

in Thomas ‘Jupiter’ Harris
Neil Parsons

. 29. 2 Catherine E. Anderson, ‘A Zulu King in Victorian London: Race, royalty and imperialist aesthetics in late nineteenth-century Britain’, Visual Resources , 14:3 (2008), 299. 3 Jaap Van Velsen, ‘Social

in Mistress of everything
Charles V. Reed

Irish Catholics, he explained to readers: The late Queen Victoria was the first actual British constitutional sovereign. At an important period in the history of European monarchies she popularised British royalty by her personal virtues and her prudent regard for the limitations of her office … Whatever his defects or limitations, Edward VII

in Royals on tour

Royal Tourists, Colonial Subjects, and the Making of a British World, 1860-1911 examines the ritual space of nineteenth-century royal tours of empire and the diverse array of historical actors who participated in them. The book is a tale of royals who were ambivalent and bored partners in the project of empire; colonial administrators who used royal ceremonies to pursue a multiplicity of projects and interests or to imagine themselves as African chiefs or heirs to the Mughal emperors; local princes and chiefs who were bullied and bruised by the politics of the royal tour, even as some of them used the tour to symbolically appropriate or resist British cultural power; and settlers of European descent and people of colour in the empire who made claims on the rights and responsibilities of imperial citizenship and as co-owners of Britain’s global empire. Royal Tourists, Colonial Subjects, and the Making of a British World suggests that the diverse responses to the royal tours of the nineteenth century demonstrate how a multi-centred British-imperial culture was forged in the empire and was constantly made and remade, appropriated and contested. In this context, subjects of empire provincialized the British Isles, centring the colonies in their political and cultural constructions of empire, Britishness, citizenship, and loyalty.

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Ceremony in history
Anne Byrne

contemporaries did not attempt to understand or analyse ceremonies rationally,30 since they clearly did. They often had definite rational interests for participation in ceremonies and for anxiety in relation to participation, notions which were very relevant, for example, to parlementaires in the run-­up to the funeral of Louis XV in the summer of 1774. It was also possible, and even likely, simultaneously to experience an irrational impetus to participate and an illogical impulse to find a ceremony meaningful: this ‘marvellous royalty’ is an aspect highlighted by Bloch in Les

in Death and the crown
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John Privilege

10 Legacy Despite his prominence as a historical figure and the length of his career, Michael Logue has suffered to a surprising degree in the historiography of the period. When not ignored by historians, he has often been dismissed as a known quantity, a one-dimensional character lacking nuance and depth. Most often, historians have questioned his nationalist credentials. Miller’s description of the cardinal has remained rather typical. ‘He enjoyed waiting upon royalty’, he has stated, and ‘delighted in entertaining visiting British dignitaries with champagne

in Michael Logue and the Catholic Church in Ireland, 1879–1925
Open Access (free)
The King’s Speech as melodrama
Nicola Rehling

irascible Prince to expel the marbles angrily, storm out in a violent outburst and refuse further treatment. Such cinematic language might function as a means of articulating the unbearable pressures of royalty, in the way that Elsaesser and Nowell-Smith, for example, interpret the ‘excessive’ or ‘hysterical’ moments of the family melodrama as oblique social critique, but its primary function is ‘to

in The British monarchy on screen
Gordon Pirie

Officer Ralph Mountain its gold medal for rescuing three passengers. Elites Like crash victims, British royalty is conspicuously absent from lists in the glossy Imperial Airways Gazette and in the Imperial Airways Monthly Bulletin , two in-house publications directed at market making and news reporting. Foreign royalty were among the most

in Cultures and caricatures of British imperial aviation
Open Access (free)
Amateur film, civic culture and the rehearsal of monarchy
Karen Lury

provide many similar instances where children function as a mirror or temporary surrogate for royalty. The apparent preoccupation of amateur filmmakers with versions of monarchy is partly determined by the accessibility of the subject matter for the opportunistic camera operator. Yet they are also pervasive because these films have met with the needs and fascinations of the archivist and historian. From the

in The British monarchy on screen
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Richard Wilson

devoted royalist may be in retreat; but one of the themes of Free Will is how stubbornly royalty persists; and in criticism it has merely mutated into a yet more alarming religiosity that opposes the plays to representative democracy, as idealizations of a ‘high Christian royalism’ said to be the heart of any ‘Christian social order’. 6 In this way political theology connects these Renaissance

in Free Will