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Journal articles on the topic 'Duchesses'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Bisson, Anne-Florence. "La « Revengeance » des duchesses." Ethnologies 34, no. 1-2 (August 6, 2014): 113–32. http://dx.doi.org/10.7202/1026147ar.

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Cette étude vise à analyser les défis et les enjeux entourant la création d’une activité citoyenne à l’intérieur du Carnaval de Québec, la « Revengeance » des duchesses, destinée à assurer une réappropriation par les résidents de cette fête jugée par beaucoup trop touristique. Née dans ce contexte de questionnement du sens de la fête, et s’inspirant librement de la « tradition » des Duchesses du Carnaval, abandonnée en 1996, la « Revengeance » des duchesses propose de nouvelles activités, non reconnues dans la programmation officielle du Carnaval. Nous nous interrogeons donc sur les processus de réappropriation de la fête par les résidents des quartiers de la ville de Québec et sur les usages du Web 2.0 dans la construction des dynamiques culturelles et identitaires aujourd’hui.

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2

Pollock, M. "Duchesses and devils: the Breton succession crisis (1148-1189)." French History 23, no. 2 (May 4, 2009): 149–70. http://dx.doi.org/10.1093/fh/crp003.

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3

Henderson, Carol E. "Introduction: On First Ladies, Duchesses, and Bawses—Black Womanhood Rebooted." Journal of American Culture 42, no. 1 (March 2019): 3–9. http://dx.doi.org/10.1111/jacc.12969.

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4

Comerford, Kathleen. "Corresponding Consorts: Letters between Medici (Grand) Duchesses and Jesuits, 1540s–1620s." Early Modern Women 14, no. 2 (2020): 33–54. http://dx.doi.org/10.1353/emw.2020.0032.

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5

Szybkowski, Sobiesław. "Wojciech z Bnina w krzyżackiej niewoli Dokumentacja epistolograficzna." Studia z Dziejów Średniowiecza, no. 20 (December 15, 2020): 393–412. http://dx.doi.org/10.26881/sds.2020.24.15.

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This text publishes five letters relating to the period as a prisoner of war of the Castellan of Ląd, Wociech of Bnin, who was captured by the Teutonic Order in the Battle of Chojnice on 18 September 1454. The first letter, written in Poznań on 27 December 1454, relates to Wojciech’s own request to postpone the date of his return to captivity, which he had been released from on his word of honour as a knight, in connection with the need heal a wound or a blow that he had received in the abovementioned battle. Three subsequent letters are addressed to the Grand Master of the Order, Ludwik von Erlichshausen, all written on the same day (5 February 1455) in Warsaw. They contain the requests of two duchesses of Mazovia (Anna and Barbara) and of prominent magnates from their circle to free Wojciech from captivity in exchange for an unnamed notable of the order, who was then in Polish hands. The final letter, from 4 April 1455, was also written in Warsaw. In it, the Mazovian Duchess Anna once again requests the Grand Master to release Bniński from captivity. Wojciech personally delivered this letter to Malbork on 22 April 1455, and he was most likely released from captivity as a prisoner of war after that date.

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6

Fried, Torsten. "A history of Slav princes and Russian grand duchesses — the Schwerin Coin Cabinet." Issues of Museology 9, no. 1 (2018): 93–110. http://dx.doi.org/10.21638/11701/spbu27.2018.109.

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7

Januszek-Sieradzka, Agnieszka, and Janusz Smołucha. "Introduction." Rocznik Filozoficzny Ignatianum 27, no. 2 (December 30, 2021): 13–18. http://dx.doi.org/10.35765/rfi.2021.2702.2.

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Like the earlier issue of the Yearbook, this one also consists of two major parts. The first is devoted to the cultural and intellectual climate of the courts of queens in medieval and modern Europe. At the beginning of the 2000s, comments made in Polish historiography that we know little about the queens and their role in the state, or about their environment, and that the structures of the courts of Polish duchesses and queens remain outside the mainstream of research, were by all means correct. Over the past twenty years, however, the subject of the courts of Polish queens in the Middle Ages and in the modern era has gained a group of scholars who have increasingly went beyond structural and interpersonal studies, and in Polish studies, the current of queenship, which is part of this problem and which has enjoyed a noticeable popularity in Western historiographies, is more and more visible.

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8

Llewellyn, Sacha. "‘A List of ye Wardrobe’ 1749: The Dress Inventory of John Montagu, 2nd Duke of Montagu." Costume 29, no. 1 (January 1, 1995): 40–54. http://dx.doi.org/10.1179/cos.1995.29.1.40.

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The following article is based on research undertaken for my MA thesis, ‘The Dress Inventories of the 2nd Duke and Duchess of Montagu, 1749 and 1747’. The Duke's inventory, which is the subject of the article below, will be followed by an article, to be published in a future issue of Costume, on the Duchess's Inventory.

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9

Surtz, Ronald. "Tecla Servent and the Borgias." Medieval Encounters 12, no. 1 (2006): 74–86. http://dx.doi.org/10.1163/157006706777502497.

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AbstractSeveral prophecies of the late fifteenth-century visionary Tecla Servent involved her in the politics of her day. When the Duke of Gandía took a wife, his mother-in-law and later the Duchess herself sent for Tecla and asked her to pray that God bless the marriage with children. In one of her ensuing visions, Tecla saw the Lord place a child among the Duchess's skirts. Inasmuch as the Duchess of Gandía was a cousin of Ferdinand the Catholic and the Duke was the Pope's son, the conception of an heir was of utmost importance to papal-Aragonese relations. Through Tecla's prophecies, the private sphere of the visionary intersected with the public sphere of international politics.

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10

Orfinskaya, Olga V., and Bella L. Shapiro. "Study of a costume complex from the burial of the princess Natalia Alexeevna Romanova. Preserved and lost." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 23–35. http://dx.doi.org/10.37816/2073-9567-2021-62-23-35.

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This paper discusses a costume complex from the burial of the Princess Natalya Alexeevna Romanova, the sister of Emperor Peter II. The burial of the young Princess took place in a dynastic necropolis of the Ascension Monastery of the Moscow Kremlin in January 1729, among dozens of tombs of Great Duchesses, Queens And Princesses. Two hundred years later, with the destruction of the monastery, by the efforts of museum and scientific staff, all the sarcophagi of the necropolis moved to the Moscow Kremlin Museums. Here is where their research began as part of a large project “Historical Necropolis” (supervisor T. D. Panova). The costume complex from the burial of Princess Natalya Romanova was studied and restored in 2008–2010 under the highest category restorer in textile and leather N. P. Sinitsyna`s guidance. However, not all the items from the burial have survived to our days — only the princess's dress, her order things, stockings and part of a heavily ruined headdress have been preserved. The other part of the costume complex has been lost for various reasons and at different times (Grand Duke's Mantle, funeral crown, wig, shoes, etc.). This research came as an attempt to present the funeral costume complex in its integrity.

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11

Chaigne, Marion. "Comptes féminins, contes du quotidien ? Les activités des duchesses de la seconde Maison d’Anjou à la lumière de leurs finances." Questes, no. 15 (September 15, 2008): 64–81. http://dx.doi.org/10.4000/questes.4114.

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12

Cheyns-Condé, M. "Expression de la piété des duchesses de Bourgogne au XVe siècle dans la vie quotidienne et dans l’art. Essai de synthèse." Publications du Centre Européen d'Etudes Bourguignonnes 29 (January 1989): 47–68. http://dx.doi.org/10.1484/j.pceeb.3.211.

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13

Lemaire, Claudine. "Remarques relatives aux inventaires de la Librairie de Bourgogne réalisés en 1467-69, 1477, 1485, 1487 et aux manuscrits des duchesses." Scriptorium 48, no. 2 (1994): 294–98. http://dx.doi.org/10.3406/scrip.1994.1701.

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14

Hamamra, Bilal Tawfiq. "“I pray sir, hear me: I am married”: Language and Sexual Politics in Webster’s The Duchess of Malfi." Anglia 138, no. 1 (March 4, 2020): 1–19. http://dx.doi.org/10.1515/ang-2019-0056.

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AbstractThis article follows the critical lines of new historicism, feminism, psychoanalysis and performance studies so as to reveal Webster’s challenge of the conventional gender roles via the binary opposites of speech and silence. Within the context of new historicism, I contend that Webster’s The Duchess of Malfi (1613–1614) comments on the corruption and abuse of absolute political power within the reign of King James I and the Catholic Church through the figures of Ferdinand (the head of the state) and the Cardinal (the head of the Church). Contrary to the new historicism’s conception of all-encompassing ideology, Webster attributes male figures’ loss of control over their voices and the movement of the plot to their aural closure to the Duchess’s moral speech. Following the methodology of feminism, I argue that this tragedy enacts an inversion of gender roles with respect to discourse. Webster associates the Duchess of Malfi’s voice and silence with honesty and dramatic authority and her tyrannical brothers’ voices with incestuous and murderous desires. Drawing on Freudian and Jungian concepts of psychoanalysis, I propose that Ferdinand and the Cardinal whose voices are associated with murderous and incestuous desires are linked with the psychic zone of the id while the Duchess, who expresses and acts on her sexual desire within the sphere of marriage, is linked to the ego, the reality principle. Her appearance as an echo in the tragic closure reveals her progression towards perfection, the superego. While Ferdinand’s misogyny is a projection of his unconscious sexual desire towards his sister, his madness is a sign of incestuous frustration. At a meta-theatrical level, I argue that this subversion of gender roles via the binary opposites of embodiment and disembodiment and silence and speech is linked to theatrical performance. Webster shows that the boy actor impersonating the Duchess’s voice and silence appropriates masculine agency while male figures’ voices are linked to madness and lack of subjectivity.

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15

Громова, А. В. "Grand Duchess Elizaveta Feodorovna as a patron of music education." Диалог со временем, no. 76(76) (August 17, 2021): 409–20. http://dx.doi.org/10.21267/aquilo.2021.76.76.019.

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Статья посвящена покровительству Великой княгини Елизаветы Федоровны музыкальному образованию на примере двух основных московских училищ музыкального направления. Рассматриваются различные аспекты попечительства в целях качественного обеспечения учебного процесса, помощи «недостаточным учащимся», поощрения наиболее талантливых учеников, создания условий для широкого практического применения учащимися полученных знаний в лучших творческих коллективах России. Также уделено внимание содействию Великой княгини возникновению в России новых музыкальных и театральных направлений при участии преподавателей и выпускников Музыкально-драматического и Синодального училищ. The article is devoted to Grand Duchess Elizaveta Feodorovna’s activities as a patron of music education in Russia, focusing on the two main Moscow schools specializing in music as a case study. The author analyzes various aspects of her patronage aimed at providing high-quality teaching, assisting poor pupils, and encouraging the most talented ones, creating a wide basis for practical application of knowledge acquired by graduates in the best on-stage performance groups of Russia. Attention is also paid to the Grand Duchess’s effort to encourage new trends in Russian musical and performance arts through the contribution of the two Schools’ teachers and graduates.

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16

Killick, Rachel. "Becoming Québécois: Édouard and the Duchesse de Langeais between Old Worlds and New in the work of Michel Tremblay." British Journal of Canadian Studies: Volume 33, Issue 2 33, no. 2 (September 1, 2021): 189–208. http://dx.doi.org/10.3828/bjcs.2021.13.

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Our identity is formed in large part by the way we see others and the way others, in their turn, see us. This is true both of Québec and of Édouard, one of the principal characters of the fictionalised Montréal universe of Michel Tremblay. A representative of the pre-1970s socio-economic inequality of French-Canadians, Édouard is further marginalised by his homosexuality. In his transvestite persona as the Duchesse de Langeais, a revised version of a Balzacian heroine, he undertakes a mocking critique of the injustices of his society from the ‘external’ point of view of this supposed French aristocrat before seizing the opportunity of an actual visit to France, hoping to find there a freer and more equitable society. But the Old World turns out to be unwelcoming and antiquated, making Édouard more aware of the hitherto unperceived advantages of his life in Montréal. Returning home, his only option is to resume his role as a provocative duchess, preparing the ground for the advent in 1976 of a modern Québec, a francophone society of the New World, internationally recognised for its openness of mind and its cultural dynamism.

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17

Mhainnín, Máire Áine Ní. "'Il aurait peut-être préféré avoir une autre fille': Paternal Mourning in the Work of Annie Ernaux." Irish Journal of French Studies 19, no. 1 (December 9, 2019): 107–22. http://dx.doi.org/10.7173/164913319827945765.

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Annie Ernaux discovered, at the age of ten, that her sister, Ginette Marie Thérèse Duchesne, had died of diphtheria in 1938, two years prior to Ernaux's birth. Ernaux relates the circumstances of her sister's death and parents' grief in Une femme and in several subsequent texts, culminating in L'Autre fille, a letter addressed to her deceased sister. In the latter text, Ernaux poignantly describes her parents' grief and this article examines Ernaux's perception of her father's mourning processes as depicted across a range of texts. The analysis of Ernaux's writing is informed by Freudian concepts of mourning and grief. According to Freudian theory, when one enters the melancholic stage of grieving, the lost loved one causes a diminishment of the ego. Ginette's death was clearly a profound loss for her father. Ernaux's mother, Blanche, recalls Alphonse Duchesne's reaction: 'mon mari était fou quand il t'a trouvée morte en rentrant de son travail.' (L'Autre fille, p. 16). It is significant, therefore, to note that Alphonse Duchesne, as described by Ernaux, particularly in La Place and La Honte, displays many of the behavioural elements which Freud considered melancholic including a decrease in self-regard – as can be seen through many examples in Ernaux's corpus of her father's abasement, humiliation and emasculation. Our reading of Ernaux's texts will be enhanced by Cathy Caruth's conception of trauma as 'the story of a wound that cries out'. By combining both of these approaches – the melancholia of grief and the trauma of loss – this article engages in a close reading of paternal experience of the death of a child, as related by Ernaux, with a focus on how this impacts on both the physiological and physical self.

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18

Schneider, Gretchen. "The duchess's ball." Dance Chronicle 10, no. 2 (January 1986): 236–41. http://dx.doi.org/10.1080/01472528608568947.

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19

Jackson, Ian, Günter Staudt, and Claude Dabbak. "Les dessins d'A.N. Duchesne pour son Histoire naturelle des fraisiers [Cover, Spine Title: Les dessins d'Antoine Nicolas Duchesne...] = A.N. Duchesne's Drawings for His Histoire naturelle des fraisiers." Taxon 54, no. 1 (February 1, 2005): 260. http://dx.doi.org/10.2307/25065341.

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20

Eörsi, Anna. "Mary of Burgundy Alive or Dead." Acta Historiae Artium 62, no. 1 (April 7, 2022): 39–61. http://dx.doi.org/10.1556/170.2021.00004.

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Three depictions of Mary of Burgundy seated on horseback were made soon after the duchess’s death.The drawn copy of a lost work by Hugo van der goes commemorates the negotiations held in Trier in 1473 between frederick iii and Charles the Bold, when they made their first agreement on joining their children in marriage. The composition is strikingly reminiscent of the theme of The Meeting of the Three Living and the Three Dead; the high-born female rider arriving behind Maximilian is Mary of Burgundy, depicted after her death. The man confronting the riders with their mortality probably refers to Charles the Bold (d. 1477). The original work was likely to have been commissioned by Maximilian sometime between the death of the duchess and that of the painter, that is between March and December 1482.Like the drawing, the allegorical poem completed in 1483 by olivier de La Marche is a commemoration of the recently deceased dukes and duchess of the House of Burgundy. for the edition of the poem published by the Brethren of the Common Life in gouda, the drawing associated with Hugo van der goes was utilised to illustrate the chapter on the death of Mary of Burgundy.The protagonist of The Meeting of the Three Living and the Three Dead in the manuscript known as the “Berlin Hours of Mary of Burgundy and Maximilian of Austria” is Mary of Burgundy, who died in a riding accident. i refute all the arguments suggesting that the miniature preceded the duchess’s death. The double letters “M” on the harness of Mary’s horse (which are also found several other times in the book of hours) refer not only to the names of the ducal couple, but also to words associated with death. The miniature itself was probably commissioned by Maximilian, after his wife’s death. With its softer brushwork, the decorative frame around the miniature – as well as the entire recto of folio 221 – was probably made when the manuscript was in the possession of Margaret of Austria. The personification of Death differs from the verso in many respects (scale, background, style); iconographically it can be considered an afterthought. The green parrot and golden dove in the left margin are also afterthoughts. The two birds appear in the Épîtres de l’Amant vert (1505), the consolatory poem composed for Margaret by Jean Lemaire: one bird was the mother’s favourite, the other her daughter’s favourite; both ended their lives in the mouths of dogs (which had been barking on the verso of folio 220 for a few years before). Here and now, in the margin of the recto of folio 221, the birds representing the souls of mother and daughter are inhabitants of Paradise. The protagonist in the verso of folio 158 of the London rothschild Hours – the image is a copy of the Berlin Meeting – is the commissioner of the manuscript, and also the owner of the Berlin manuscript: Margaret of Austria, identifying with and commemorating her mother Mary of Burgundy. The depiction facing it in the recto of folio 159 alludes to the series of events (the two funerals) that followed the death of Margaret’s husband, Philibert ii, with a proleptic depiction of st. nicolas’s Church in Brou (their future common tomb). Besides the riding ladies, the illustrations of the office of the Dead in the Berlin and London Hours share numerous similarities.

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21

Cornilliat, François. "Pas de miracle : la Vierge et Marguerite dans l’Heptaméron." Études littéraires 27, no. 2 (April 12, 2005): 77–96. http://dx.doi.org/10.7202/501083ar.

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François Cornilliat se penche sur les enjeux idéologiques et rhétoriques de la « laïcisation » du récit de miracle. Son analyse porte principalement sur la 72e - et dernière - nouvelle de l' Heptaméron de Marguerite de Navarre. Une naïve religieuse, engrossée par son confesseur, relate sa mésaventure à la duchesse d'Alençon qui, imbue d'évangélisme, convainc la nonne, qu'au lieu de s'en remettre au pouvoir illusoire du Pape, elle ferait mieux de dialoguer directement avec Dieu sans intercession « humaine ». L'intervention de la duchesse d'Alençon, qui est aussi l'auteure du livre, est ainsi liée à l'activité du récit désacralisant.

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22

Ball, David. "John Webster, La Duchesse de Malfi [The Tragedy of the Duchesse of Malf." Coulisses, no. 43 (December 31, 2011): 193–97. http://dx.doi.org/10.4000/coulisses.428.

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23

Spriggs, Matthew. "Who was the Duchess of Cornwall in Nicholas Boson's (c.1660-70) 'The Duchesse of Cornwall's Progresse to see the Land's End…'?" Cornish Studies 14, no. 1 (May 1, 2006): 56–69. http://dx.doi.org/10.1386/corn.14.1.56_1.

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24

Lodine-Chaffey, Jennifer. "“Beyond Death”: John Webster's The Duchess of Malfi and Posthumous Influence." Ben Jonson Journal 26, no. 1 (May 2019): 113–32. http://dx.doi.org/10.3366/bjj.2019.0242.

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This essay argues that John Webster's 1611 drama, The Duchess of Malfi, attests to the power of death to shape selfhood and demonstrates the influence of textual monuments on the living. As Webster notes, posthumous fame is not based solely on its ability to console, but rather on “the dignity of a great example,” which is shown at the end of the play through the Duchess’ continuing influence on other characters. Reactions to both her dead body and the edifice constructed in her honor highlight the transformative power of the Duchess’ death and monumentalization. Specifically, The Duchess of Malfi offers audiences a gendered type of memorial, one based on the ability of a female character to posthumously influence the actions of others.

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25

Blokhina, N. N. "Grand duches Olga Alexandrovna and Mariya Pavlovna as sisters of mercy during World War I." Kazan medical journal 96, no. 6 (December 15, 2015): 1079–84. http://dx.doi.org/10.17750/kmj2015-1079.

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The article describes Romanov dynasty representatives work as the Sisters of Mercy: the sister of Emperor Nicholas II Grand Duchess Olga Alexandrovna, and cousin of the Emperor Grand Duchess Maria Pavlovna, in the Russian military hospitals from the very first days of the First World War. Realizing that sick and wounded need care, they gave all their energy to service to them. Complying with hospitals everyday life order where they held the service, not distinguishing themselves, they lived everyday hospital life. August sisters seemed humane and kindred because they aspired to alleviate the suffering of the paternalized wounded, console them, show them kindness. The Romanov dynasty representatives personified for the wounded all near and dear to their hearts. They constituted that higher female creature which embodies the virtues of mother and wife, and at the same time the Christian service paragon, what was always much valued among Russian people. Both Grand Duchess Olga Alexandrovna and Grand Duchess Maria Pavlovna, Jr., the Red Cross Evgenevskiy community nurse, activities flowed in the tense daily work, difficult military life conditions and hardships. Sisters of Mercy of the Romanov dynasty - Grand Duchess Olga Alexandrovna and Grand Duchess Maria Pavlovna - became exemplary models for all young sisters, who joined the road of charity in the grim days of First World War.

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26

Gromova, Anna. "Patronage over Russian army units in the life of Grand Duchess Elizaveta Fyodorovna. 1884—1912." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-3 (December 1, 2020): 120–33. http://dx.doi.org/10.31166/voprosyistorii202012statyi58.

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The article is devoted to Grand Duchess Elizabeth Feodorovna, her active work in the field of the August patronage of the 51st Dragoon Chernihiv regiment (since 1907 - the 17th hussars of Grand Duchess Elizabeth Feodorovna regiment) from 1898 to 1911. Attention is also paid to her patronage of the 5 th Grenadier Kiev regiment named after Her Imperial Highness Grand Duchess Elisaveta Feodorovna, which passed to her from the previous chief-her husband, Grand Duke Sergei Alexandrovich, after his tragic death. The article considers some aspects of the development of the tradition of patronage of regiments in Russia, in particular by representatives of the female half of the Russian Imperial House, as well as the activities of the Grand Duchess to assist officers and soldiers during the Russo-Japanese war.

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27

Adorno Chavez, Marcial, and Laura Concepción Soilán Duarte. "Effect of fungicides on anthracnose (Colletotrichum fragariae Brooks) on strawberry plants [Fragaria × ananassa (Duchesne ex Weston) Duchesne ex Rozier]." Investigación Agraria 20, no. 1 (June 30, 2018): 38–50. http://dx.doi.org/10.18004/investig.agrar.2018.junio.38-50.

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28

Freza‑Olczyk, Mariola. "Stepmother and stepson: Duchess Matilda in the power struggle after the death of her husband Barnim I, the Duke of Pomerania." Studia z Dziejów Średniowiecza, no. 23 (December 17, 2019): 83–99. http://dx.doi.org/10.26881/sds.2019.23.03.

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This essay presents the diplomatic relations between the Pomeranian Duke Bogusław IV and his stepmother, Duchess Matilda. Bogusław was the first son of Duke Barnim I and his second wife, Duchess Margaret of Mecklenburg. The first aim is to describe some general information relating to their personal life. Another crucial objective is to explore in greater detail the political situation in the Duchy of Pomerania towards the end of the 13th century and in the early 14th century. This is a complex problem because of the numerous conflicets between Duke Bogusław IV and the Margraviate of Brandenburg. His stepmother, Duchess Matilda, was a daughter of Margrave Otto III of Brandenburg. This fact had an immense influence on their diplomatic relations. In 1295, the Duchy of Pomerania was divided between Duke Bogusław IV and his half‑brother, Otto I. According to this agreement, Bogusław received Wolgast, and Otto Szczecin. The paper shows that in all likelihood Duchess Matilda contributed to this division of the duchy.

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29

Mendes, Nancy Maria. "Um quadro de Frans Hals no romance proustiano." Aletria: Revista de Estudos de Literatura 3 (October 31, 1995): 103–22. http://dx.doi.org/10.17851/2317-2096.3..103-122.

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Une analyse de deux évocations, dans A la recherche da temps perda, de la toile de Frans Hals Les régentes de I'hôpitBI, en la mettant en rapport avec des idéalisations faites par le héros et par la duchesse de Guermantes et avec des annonces de la mort qu'on trouve dans le rornao proustien.

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30

Mendes, Nancy Maria. "Um quadro de Frans Hals no romance proustiano." Aletria: Revista de Estudos de Literatura 3 (October 31, 1995): 103. http://dx.doi.org/10.17851/2317-2096.3.0.103-122.

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Une analyse de deux évocations, dans A la recherche da temps perda, de la toile de Frans Hals Les régentes de I'hôpitBI, en la mettant en rapport avec des idéalisations faites par le héros et par la duchesse de Guermantes et avec des annonces de la mort qu'on trouve dans le rornao proustien.

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31

Maas, John L., John S. Hartung, Cristina Gouin-Behe, and Stan C. Hokanson. "Sources of Resistance for Two Differentially Pathogenic Strains of Xanthomonas fragariae in Fragaria Genotypes." HortScience 35, no. 1 (February 2000): 128–31. http://dx.doi.org/10.21273/hortsci.35.1.128.

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Bacterial angular leafspot disease (BALD) of strawberry (Fragaria sp. and F. ×ananassa Duchesne cultivars) has become increasingly destructive to strawberry fruit and plant production in Canada and the United States, as well as in other countries. The disease, caused by Xanthomonas fragariae Kennedy and King, was first documented in Minnesota in 1960, and has become of worldwide concern because of the economic impact of BALD in strawberry fruit and nursery-plant production and the lack of adequate disease control strategies. We tested 81 Fragaria genotypes, including representatives of F. ×ananassa, F. chiloensis (L.) Duchesne, F. virginiana Duchesne, and F. vesca L., for resistance to two pathogenic strains of X. fragariae. Two genotypes, a native F. virginiana from Minnesota and an F. virginiana × F. ×ananassa hybrid, were found to resist infection by both bacterial strains and may be potential sources of resistance to other strains of X. fragariae.

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Burger, B. J., and L. Tackett II. "The stratigraphic importance of the brontothere (cf. <i>Diplacodon elatus</i>) in the Brennan Basin Member of the Duchesne River Formation of Utah." Fossil Record 17, no. 2 (August 27, 2014): 69–74. http://dx.doi.org/10.5194/fr-17-69-2014.

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Abstract. We report on the first occurrence of an early horned brontothere in the Brennan Basin Member of the Duchesne River Formation in northeastern Utah. This is the first record of a brontothere from the Brennan Basin Member. Previously, brontotheres have been reported from the higher stratigraphic La Point Member (Duchesneodus uintensis) and the lower stratigraphic Uinta Formation (Sphenocoelus uintensis, Fossendorhinus diploconus, Metarhinus fluviatilis, Metarhinus abbotti, Sthenodectes incisivum, Metatelmatherium ultimum, Protitanotherium emarginatum, Pollyosbornia altidens, Diplacodon elatus). The recovered specimen consists of an upper third molar, which is comparable to the species Diplacodon elatus. The specimen supports the continued presence of brontotheres throughout the deposition of the Duchesne River Formation across the late Uintan to early Duchesnean North American Land Mammal Age. The previous lack of brontotheres within the lower beds of the Duchesne River Formation is likely a result of poor sampling and the relative rarity of fossils from this unit.

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Schreiber, Melvyn H. "My last duchess." Academic Radiology 2, no. 3 (March 1995): 263. http://dx.doi.org/10.1016/s1076-6332(05)80177-1.

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Mitchell, L. G. "The Merry Duchess." English Historical Review 118, no. 479 (November 1, 2003): 1405. http://dx.doi.org/10.1093/ehr/118.479.1405.

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Salsini, Laura A., Dacia Maraini, Dick Kitto, and Elspeth Spottiswood. "The Silent Duchess." Italica 76, no. 3 (1999): 433. http://dx.doi.org/10.2307/479930.

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Harder, Hollie. "FINDING PROUST'S DUCHESS." Yale Review 106, no. 3 (July 2018): 141–49. http://dx.doi.org/10.1111/yrev.13395.

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Harder, Hollie. "FINDING PROUST'S DUCHESS." Yale Review 106, no. 3 (2018): 141–49. http://dx.doi.org/10.1353/tyr.2018.0039.

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Nassichuk, John. "Léger Duchesne, orateur royal." Tangence, no. 93 (February 2, 2011): 17–35. http://dx.doi.org/10.7202/045548ar.

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Cette étude examine le premier des deux discours prononcés par Léger Duchesne in auditorio regio, qui furent imprimés et transmis à la postérité. Lecteur royal de rhétorique et de lettres latines, Duchesne prononça en janvier 1580 une oraison dans laquelle il loue les rois Valois créateurs et protecteurs du Collège des lecteurs royaux (actuel Collège de France). Il se rappelle ses propres expériences de jeune étudiant à l’époque de Louis XII et de François Ier, afin de souligner la grandeur de l’institution qui constitue l’une des gloires durables du royaume de France. Duchesne apostrophe successivement, selon l’ordre chronologique, chacun des rois Valois à l’exception de Henri II. Son éloquence épidictique fait montre d’une riche culture latine, comme en témoignent les échos de Virgile, Quintilien, Cicéron et Horace que l’orateur rencontra pour la première fois lorsque, jeune homme, il fréquenta les cours des lecteurs. Ainsi ce double éloge, de la lignée royale des Valois et de l’institution des lecteurs royaux, se construit-il sur un récit « autobiographique » qui culmine par l’éloge de Henri III, maître de l’Académie du Palais.

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Swanson, Ross. "JUAN R. DUCHESNE WINTER. Plant Theory in Amazonian Literature. New York: Palgrave Macmillan, 2019. 103 pp." Revista Canadiense de Estudios Hispánicos 44, no. 2 (November 22, 2021): 536–39. http://dx.doi.org/10.18192/rceh.v44i2.6122.

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Naruhashi, Naohiro, and Yoshikane Iwatsubo. "Karyological studies of Duchesnea (Rosaceae)." CYTOLOGIA 56, no. 1 (1991): 143–49. http://dx.doi.org/10.1508/cytologia.56.143.

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Benoit, Jérémie. "L’ameublement de la duchesse d’Orléans au Petit Trianon." Versalia. Revue de la Société des Amis de Versailles 15, no. 1 (2012): 19–40. http://dx.doi.org/10.3406/versa.2012.1147.

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Zawada, Kinga. "Successful Fraud: Édouard, A.K.A. The Duchesse de Langeais." Contemporary French and Francophone Studies 17, no. 2 (March 2013): 203–11. http://dx.doi.org/10.1080/17409292.2013.757498.

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Baron, A. M. "LA DUCHESSE DE LANGEAIS, DE BALZAC A RIVETTE." French Studies Bulletin 28, no. 105 (January 1, 2007): 85–88. http://dx.doi.org/10.1093/frebul/ktm023.

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Perkins, Wendy. "The Spiritual Regeneration of the Duchesse de Longueville." Seventeenth-Century French Studies 26, no. 1 (June 2004): 97–106. http://dx.doi.org/10.1179/c17.2004.26.1.97.

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Lojo Rodríguez, Laura María. "Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"." Journal of English Studies 3 (May 29, 2002): 115. http://dx.doi.org/10.18172/jes.73.

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In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty

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Kardos, Joshua H., Carol D. Robacker, Michael A. Dirr, and Timothy A. Rinehart. "Production and Verification of Hydrangea macrophylla × H. angustipetala Hybrids." HortScience 44, no. 6 (October 2009): 1534–37. http://dx.doi.org/10.21273/hortsci.44.6.1534.

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The genetic diversity among H. macrophylla (Thunberg) Seringe taxa is limited as a result of the restricted native distribution and multiple breeding programs that used the same taxa and targeted similar breeding goals. This study assessed the compatibility of interspecific crosses between Hydrangea macrophylla and H. angustipetala Hayata as a source of genetic diversity. Two lacecap cultivars of H. macrophylla, ‘Lady in Red’ and Midnight Duchess® (‘HYMMAD II’), were compatible with H. angustipetala. Hybridity of progeny was confirmed by simple sequence repeat markers and morphological comparisons. Some hybrids had red- or purple-pigmented stems, which are characteristic of ‘Lady in Red’ or Midnight Duchess®, respectively. All hybrids had white lacecap inflorescences. Some of the hybrid flowers were fragrant. Winter leaf retention of the hybrids ranged from deciduous to semievergreen. Male fertility of progeny was evaluated by fluorescein diacetate staining of pollen. ‘Lady in Red’, Midnight Duchess®, and H. angustipetala had 62%, 58%, and 79% stainable pollen, respectively, whereas the ‘Lady in Red’ × H. angustipetala and Midnight Duchess® × H. angustipetala hybrids had means of 48% and 47% stainable pollen, respectively. Selected progeny were used to develop F2 and BC1 populations. The interspecific hybrids produced in this study were attractive, fertile plants that are being used in further breeding to develop new cultivars.

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Nichols, Dr Kenneth. "Case Study #9: My Last Duchess by Robert Browning." Public Voices 14, no. 2 (January 5, 2017): 137. http://dx.doi.org/10.22140/pv.16.

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The poem is the duke’s side of a conversation about the duchess with an emissary who has come representing a family potentially interested in having their daughter marry the duke and become his next duchess.The duke and duchess rule the mythical duchy of Ferrara in an Italy of long ago. That makes them the executive officers, chief administrators, and designated heads of government over the people within the duchy: A pair of top cats. For us, what is interesting about this pair is the strong contrast of their leadership styles. The duke is autocratic and direct; the duchess he describes is quite the opposite — and, at least for the duke, unsettlingly effective. Through his conversation, the duke gives us many clues with regard to how they both rule. Who do you think is the better leader?

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Gilbert, MA, KA Shaw, JD Armour, JK Teitzel, and J. Standley. "Low effectiveness of Duchess rock phosphate on pastures in northern Queensland." Australian Journal of Experimental Agriculture 30, no. 1 (1990): 61. http://dx.doi.org/10.1071/ea9900061.

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Rock phosphate from Duchess, northeastern Australia, and superphosphate were compared as phosphorus (P) sources for pasture in glasshouse and field experiments in northern Queensland. Duchess rock phosphate was an inferior source of P for pastures, compared with superphosphate. The yield response to rock phosphate, however, varied between soils. On strongly acidic soils with high P sorption capacity, rock phosphate increased yield and bicarbonate-extractable P in the soil. On near neutral soils of low P sorption capacity, rock phosphate had little effect on yield. When the rate of rock phosphate was expressed as citrate-soluble P, its performance improved relative to superphosphate. Rates of coarse Duchess rock phosphate need to be at least 10 times those of superphosphate to produce a similar effect on pasture growth. In a glasshouse experiment, the fine rock phosphate was 1.6 times more effective than the coarse material.

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Le Baillif, Anne-Marie. "Autour de la figure de Marie Stuart." Nordlit 15, no. 2 (March 26, 2012): 121. http://dx.doi.org/10.7557/13.2048.

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The Sixteenth century constitutes an inspiration for writers of the nineteenth century. My paper is based on two works: Jean de Virey’s tragédie: Jeanne d’Arques published in 1600; Le quadrille de la duchesse de Berry which took place in 1829. In both the life of Marie, Queen of Scots, is given a political meaning: she was a woman who made herself conspicuous and consequently became a symbol of decadent power.

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Yaroviy, G. I., O. I. Filimonova, O. V. Romanov, and I. M. Hordiienko. "Productivity of winter garlic in the conditions of the Left-bank Forest steppe of Ukraine and molecular-genetic polymorphism of the researched varieties." PLANT AND SOIL SCIENCE 12, no. 1 (2021): 102–11. http://dx.doi.org/10.31548/agr2021.01.102.

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In Ukraine, the area under garlic is increasing and as of 2020 amounted to 1,100 hectares, due to the high profitability of production and constant demand in both domestic and foreign markets. At the same time, the evaluation of existing and new varieties of winter garlic is important for further growth in yields of this important crop. The aim of the research is to assess the genetic diversity of the studied varieties of winter garlic by ISSR loci and to determine the most productive in the conditions of the Left Bank Forest-Steppe of Ukraine. Winter garlic varieties Duchess, Lyubasha and Hungarian (line 20-16) were used for the research. The highest level of marketable yield (14.1 t / ha) was obtained when growing winter garlic of Lyubasha. The Hungarian variety (Line 20-16) provided a yield of 12.9 t / ha, the Duchess variety 9.4 t / ha. The formation of winter garlic yield by 12.3 % depended on the characteristics of the variety, the influence of the growing season was 87.3 %. Agronomically stable (As ˃ 70 %) was the winter garlic variety Hungarian (Line 20-16) with As = 73.8 %. Based on the above studies, allelic formulas (molecular genetic passports) of winter garlic varieties Hungarian (Line 20-16), Lyubasha and Duchess were formed. In the studied varieties of winter garlic, several amplicons were found, unique within the study group. The UCC812725 and UBC 812902 loci were unique in the Duchess variety, and the UBC 812791 and UBC 842702 loci were unique in the Lyubasha variety. The calculated Nei–Li similarity coefficients indicate a significant genetic similarity of the studied varieties of winter garlic. The Lyubasha and Duchess varieties are genetically closer to each other than the Hungarian varieties (Line 20-16).

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